Science Fiction and Fantasy Literature | Copyright

Literary Movements For Students

Project Editor David Galens

Editorial
Sara Constantakis, Elizabeth A. Cranston, Kristen A. Dorsch, Anne Marie Hacht, Madeline S. Harris, Arlene Johnson, Michelle Kazensky, Ira Mark Milne, Polly Rapp, Pam Revitzer, Mary Ruby, Kathy Sauer, Jennifer Smith, Daniel Toronto, Carol Ullmann

Research
Michelle Campbell, Nicodemus Ford, Sarah Genik, Tamara C. Nott, Tracie Richardson

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Beverly Jendrowski

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Michelle DiMercurio, Pamela A. E. Galbreath, Michael Logusz

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/ Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Literary Movements for Students (LMfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN LMfS, VOLUMES 1 and 2, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Forum for Modern Language Studies, v. XXIX, January, 1993 for “Magic Realism: A Typology,” by William Spindler. © Forum for Modern Language Studies 1993. All rights reserved. Reproduced by permission of Oxford University Press and the author.—Harvard Theological Review, v. 84, April, 1991. Copyright © 1991 by the President and Fellows of Harvard College. Reproduced by permission.—The Journal of Men’s Studies, v. 3, May, 1995. © 1995 by the Men’s Studies Press. All rights reserved. Reproduced by permission.— Charles A. Carpenter, “‘Victims of Duty’? The Critics, Absurdity, and ‘The Homecoming’,” in Modern Drama, Vol. XXV, December, 1982, pp. 489–95. © 1982 University of Toronto, Graduate Centre for Study of Drama. Reproduced by permission.— Yale French Studies, May, 1964 for “The Significance of Surrealism” by Henri Peyre; May, 1967 for “New Critics and Old Myths” by Serge Doubrovsky; May 1967 for “The Classicism of the Classics,” by Jean Hytier. Copyright © 1964, 1967. Reproduced by permission of the publisher and the respective authors.

COPYRIGHTED MATERIALS IN LMfS, VOLUMES 1 and 2, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Arnott, Peter D. From Public and Performance in the Greek Theatre. Routledge, 1989. © 1989 Peter D. Arnott. All rights reserved. Reproduced by permission.—Byerly, Alison. From Realism, Representation, and the Arts in Nineteenth-Century Literature. Cambridge University Press, 1997. © Alison Byerly 1997. Reproduced by permission.— Chenieux-Gendron, Jacqueline. From “Prohibition and Meaning,” in Surrealism. Translated by Vivian Folkenflik. Columbia University Press, 1990. Copyright © 1990 Columbia University Press. All rights reserved. Reproduced by permission.—Clements, Patricia. From Baudelaire & The English Tradition. Princeton University Press, 1985. Copyright © 1985 by Princeton University Press. Reproduced by permission.—Cooper, David E. From Existentialism: A Reconstruction. Basil Blackwell, 1990. Copyright © David E. Cooper 1990. All rights reserved. Reproduced by permission.—Doody, Margaret Anne. From “Sensuousness in the Poetry of Eighteenth-Century Women Poets,” in Women’s Poetry in the Enlightenment: The Making of a Canon, 1730-1820. Edited by Isobel Armstrong and Virginia Blain. Macmillan Press Ltd., 1999. © Macmillan Press Ltd. 1999. All rights reserved. Reproduced by permission.—Hall, Jr., Vernon. From Renaissance Literary Criticism: A Study of Its Social Content. Columbia University Press, 1945. Copyright, 1945, by Columbia University Press. Reprinted by permission.—Hunter, G. K. From “The Beginnings of Elizabethan Drama: Revolution and Continuity,” in Renaissance Drama: Renaissance Drama and Cultural Change. Edited by Mary Beth Rose. Northwestern University Press, 1986. Copyright © 1986 by Northwestern University Press. All rights reserved. Reproduced by permission.—Koster, Donald N. From Transcendentalism in America. Twayne Publishers, 1975. Copyright © 1975 by G. K. Hall & Co. All rights reserved. Reproduced by permission.—Krupat, Arnold. From “Postcolonialism, Ideology, and Native American Literature,” in Postcolonial Theory and the United States: Race, Ethnicity, and Literature. Edited by Amritjit Singh and Peter Schmidt. University Press of Mississippi, 2000. Copyright © 2000 by University Press of Mississippi. All rights reserved. Reproduced by permission.—Loomba, Ania. From Colonialism/Postcolonialism. Routledge, 1998. © 1998 Ania Loomba. All rights reserved. Reproduced by permission.—Loomis, Roger Sherman. From “A Defense of Naturalism,” in Documents of Modern Literary Realism. Edited by George J. Becker. Princeton University Press, 1963. Copyright © 1963 by Princeton University Press. All rights reserved. Reproduced by permission.— MacAndrew, Elizabeth. From The Gothic Tradition in Fiction. Columbia University Press, 1979. Copyright © 1979 Columbia University Press. All rights reserved. Reproduced by permission.— Martindale, Joanna. From “Introduction,” in English Humanism: Wyatt to Cowley. Croom Helm, 1985. © 1985 Joanna Martindale. Reproduced by permission.—Martines, Lauro. From “The Italian Renaissance,” in The Meaning of the Renaissance and Reformation. Edited by Richard L. DeMolen. Houghton Mifflin Company, 1974. Copyright © 1974 by Houghton Mifflin Company. All rights reserved. Reproduced by permission.— McCaffery, Larry. From “Introduction,” in Postmodern Fiction: A Bio-Bibliographical Guide. Edited by Larry McCaffery. Greenwood Press, 1986. Copyright © 1986 by Larry McCaffery. All rights reserved. Reproduced by permission.—Parrinder, Patrick. From “Science Fiction: Metaphor, Myth or Prophecy,” in Science Fiction, Critical Frontiers. Edited by Karen Sayer and John Moore. Macmillan Press Ltd., 2000. © Patrick Parrinder 2000. All rights reserved. Reproduced by permission of the author.—Perkins, David. From A History of Modern Poetry: From the 1890s to the High Modernist Mode. The Belknap Press, 1976. Copyright © 1976 by the President and Fellows of Harvard College. All rights reserved. Reproduced by permission.—Perry, Margaret. From Silence to the Drums: A Survey of the Literature of the Harlem Renaissance. Greenwood Press, 1976. Copyright © 1976 by Margaret Perry. All rights reserved. Reproduced by permission.—Ritchie, J. M. From German Expressionist Drama. Twayne Publishers, 1976. Copyright © 1976 by G. K. Hall & Co. All rights reserved. Reproduced by permission.— Roberts, Adam. From Science Fiction. Routledge, 2000. © 2000 Adam Roberts. All rights reserved. Reproduced by permission.—Sheppard, Richard. From “The Problematics of European Modernism,” in Theorizing Modernism: Essays in Critical Theory. Edited by Steve Giles. Routledge, 1993. © 1993 by Richard Sheppard. All rights reserved. Reproduced by permission.—Sitter, John. From “About Wit: ‘Locke, Addison, Prior, and the Order of Things’,” in Rhetorics of Order: Ordering Rhetorics in English Neoclassical Literature. Edited by J. Douglas Canfield and J. Paul Hunter. University of Delaware Press, 1989. © 1989 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Smith, Molly. From Breaking Boundaries: Politics and Play in the Drama of Shakespeare and his Contemporaries. Ashgate Publishing Ltd., 1998. © Molly Smith, 1998. All rights reserved. Reproduced by permission.— Swales, Martin. From Irony and the Novel: Reflections on the German Bildungsroman, at inaugural lecture, University College London, February 9, 1978. Reproduced by permission.—Tanner, Tony. From The Reign of Wonder: Naiveté and Reality in American Literature. Cambridge University Press, 1965. © Cambridge University Press 1965. Reproduced by permission.—Wellek, Rene. From Discriminations: Further Concepts of Criticism. Yale University Press, 1970. Copyright © 1970 by Yale University. All rights reserved. Reproduced by permission.—Windeatt, Barry. From “Introduction,” in English Mystics of the Middle Ages. Cambridge University Press, 1994. © Cambridge University Press 1994. Reproduced by permission.— Wolfson, Susan J. From “The Language of Interpretation in Romantic Poetry: ‘A Strong Working of the Mind’,” in Romanticism and Language. Cornell University Press, 1984. Copyright © 1984 by Cornell University. All rights reserved. Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN LMfS, VOLUME 1 and 2, WERE RECEIVED FROM THE FOLLOWING SOURCES:

16th century printing shop showing engravers and hand-operated printing presses, Illustration. © Hilton-Deutsch Collection/Corbis. Reproduced by permission.—Albee, Edward, photograph. © Jerry Bauer. Reproduced by permission.—Allende, Isabel, photograph. Archive Photos. Reproduced by permission.—Anatomical chart created by Leonardo da Vinci, illustration. Corbis Corporation. Reproduced by permission.—Ancient Greek actors wearing masks and dressing as old men, “In Camei,” written on image, copper engraving from antique cameo. © Bettmann/Corbis. Reproduced by permission.—Aragon, Louis, photograph. The Library of Congress.—Asimov, Isaac, photograph. AP/Wide World Photos. Reproduced by permission.— Asturias, Miguel Angel, 1967, photograph. Archive Photos, Inc. Reproduced by permission.— Autographed photograph of surrealist poets (left to right) Andre Breton, Paul Eluard, Tristan Tzara, and Benjamin Peret. Corbis Corporation. Reproduced by permission.—Barge arriving at Greenwich Palace along the Thames, during reign of Charles I, photograph. Hulton/Archive. Reproduced by permission.—Barthelme, Donald, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Blake, William, illustrator. From an illustration in William Blake at the Huntington, by Robert N. Essick. Harry N. Abrams Inc., Publishers, and The Henry E. Huntington Library and Art Gallery, 1994. Copyright © 1994 The Henry E. Huntington Library and Art Gallery.— Book illustration from 1887 edition of The Rime of the Ancient Mariner, written by Samuel Taylor Coleridge, 19th Century Art. © Corbis. Reproduced by permission.—Burroughs, William S., sitting during filming of movie with same title as his Beat Movement book, Naked Lunch, photograph. The Kobal Collection. Reproduced by permission. —Byron, Lord George Gordon, illustration. The Bettmann Archive. Reproduced by permission.— Carpentier, Alejo, photograph. © Jerry Bauer. Reproduced by permission.—Clemens, Samuel, photograph. AP/Wide World Photos. Reproduced by permission.—Clift, Montgomery and Shelley Winters in the film “A Place in the Sun,” 1951, photograph. The Kobal Collection. Reproduced by permission.—Corrected proof for “The Waste Land” from “T. S. Eliot’s ‘The Waste Land’: A Facsimile and Transcript of the Original,” edited by Valerie Eliot.—Cover of The Red Badge of Courage, by Stephen Crane. Bantam Books, 1983. Reproduced by permission of Bantam Books, a division of Random House, Inc.—Dali, Salvador, surrealist painter, painting for New York, Chicago, and Paris exhibitions, Riviera, France, photograph. © Bettmann/Corbis. Reproduced by permission.— de Beauvoir, Simone, photograph. AP/Wide World Photos. Reproduced by permission.—Debussy, Claude, photograph. Archive Photos, Inc. Reproduced by permission.—Defoe, Daniel, photograph. Archive Photos, Inc. Reproduced by permission.— Detail from “The Congo,” painting by Fritz Klingelhofer. From a cover of The Heart of Darkness, by Joseph Conrad. J. M. Dent, 1996. Reproduced by permission of Christie’s Images, London.—Detail showing Plato and Aristotle from “The School of Athens,” painting by Raphael, ca. 16th century art. © Ted Spiegel/Corbis. Reproduced by permission.— Doolittle, Hilda, 1949, photograph. AP/ Wide World Photos. Reproduced by permission.— Dostoevski, Fyodor Mikhailovich, photograph. The Library of Congress.—“The Dreadful Plague in London, 1665,” engraving. Hulton Archive/ Getty Images. Reproduced by permission.—East Harlem street, photograph. Corbis Corporation. Reproduced by permission.—Emerson, Ralph Waldo, photograph. UPI/Corbis-Bettmann. Reproduced by permission.—Emperor Napoleon I, painting. Musee de Versailles. Reproduced by permission.— Erasmus, Desiderius, painting.—Exterior view of Lafayette Theatre in Harlem, 7th Avenue between 131st and 132nd Streets, photograph. Corbis. Reproduced by permission.—Fletcher, John Gould, photograph. AP/Wide World Photos. Reproduced by permission.—Frederic W. Pailthorpe illustrator. From Great Expectations, by Charles Dickens. Dodd, Mead & Company, 1942.—French soldier falling after being shot in no-man’s-land near Verdun, c. 1916, photograph. © Hulton-Deutsch Collection/Corbis. Reproduced by permission.— Frontispiece containing beginning text from an edition of “Endymion,” poem written by John Keats. © Archivo Iconografico, S.A./Corbis. Reproduced by permission.—Fuller, Margaret, painting by John Plumbe. The Library of Congress.—Gaslight Poetry Cafe, New York, New York, photograph. © Bettmann/Corbis. Reproduced by permission.— Ginsberg, Allen, reads poetry to a crowd after New York Supreme Court decision allowed poets to give uncensored readings in public parks, Washington Square Park, New York, New York, photograph. AP/Wide World Photos. Reproduced by permission.— Globe Theatre (exterior view showing windows, banners, crowds in front), illustration. © The Folger Shakespeare Library. Reproduced by permission of the Folger Shakespeare Library.— Globe Theatre, view of Southwark on the Thames River in the 16th century, illustration by Wenceslaus Hollar (1647). © The Folger Shakespeare Library. Reproduced by permission of the Folger Shakespeare Library.—Goethe, Johann Wolfgang von, photograph. Archive Photos. Reproduced by permission.—Gutenberg Printed Bible on Display, photograph. © Bettmann/Corbis. Reproduced by permission.—Haggard, H. R., photograph. The Library of Congress.—Hassett, Marilyn, in the film “The Bell Jar,” by Sylvia Plath, photograph. The Kobal Collection. Reproduced by permission.— Havel, Vaclav, photograph. AP/Wide World Photos. Reproduced by permission.—Hollywood’s idea of human cloning, as seen in the 1931 movie “Frankenstein,” photograph. Corbis-Bettmann. Reproduced by permission.—Hughes, Langston, photograph by Nickolas Muray. Archive Photos. Reproduced by permission.—Hume, David, portrait engraving. © Corbis. Reproduced by permission.—“ The Hunter (Catalan Landscape),” 1923– 1924, oil on canvas, painting by Joan Miro. The Museum of Modern Art, New York. © 1999 The Museum of Modern Art, New York. © Artists Rights Society (ARS), New York/ADAGP, Paris. Reproduced by permission of The Museum of Modern Art, New York, and Artists Rights Society, Inc.—Hurston, Zora Neale, photograph. AP/ Wide World Photos. Reproduced by permission.— Huston, Anjelica, and Donal Donnelly in the film “The Dead,” 1987, photograph. The Kobal Collection. Reproduced by permission.—An illustration of “The Temptation of Ambrosio,” from Matthew Gregory Lewis, The Monk, photograph.—Image of “Utopia” from the March 1518 edition printed in Basel by John Froben, woodcut by Ambrosius Holbein (brother of Hans Holbein the Younger). W.W. Norton & Company, Inc. Reproduced by permission.—Jesus Christ presenting St. Catherine of Siena with crown while God and angels observe from above, painting by Pier Francesco Bissolo. © Hulton Getty/Liaison Agency. Reproduced by permission.— Johnson, Samuel, engraving. Archive Photos, Inc. Reproduced by permission.—Jonson, Ben, portrait, on frontispiece to 1616 edition of his works, 17th century art. Hulton/Archive. Reproduced by permission.—Kafka, Franz, photograph. AP/Wide World Photos. Reproduced by permission.— Kerouac, Jack, photograph. © Jerry Bauer. Reproduced by permission.—Kipling, Rudyard, photograph. Archive Photos, Inc. Reproduced by permission.—Lithgow, John, as Don Quixote, riding with Bob Hoskins (on donkey), as Sancho Panza, in a scene from the television movie “Don Quixote,” photograph. AP/Wide World Photos. Reproduced by permission.—London, Jack, photograph. The Library of Congress.—Maeterlinck, Maurice, photograph. AP/Wide World Photos. Reproduced by permission.—Maupassant, Guy de, photograph.—“Mayan Women,” painting by Roberto Montenegro. © Archivo Iconografico, S.A./ Corbis. Reproduced by permission.—McKellen, Ian, as Gandalf the White, wearing wizard hat, scene from the film version of J. R. R. Tolkien’s novel The Lord of the Rings: The Fellowship of the Ring, directed by Peter Jackson, photograph. The Kobal Collection. Reproduced by permission.— Men standing next to gun carriages loaded with defenses during time of Paris Commune, insurrectionary government formed at the end of the Franco-Prussian War, probably Paris, France, photograph. © Hilton-Deutsch Collection/Corbis. Reproduced by permission.—Moreau, Gustave, “The Apparition.” c. 1874–1876. Oil on canvas. Musee Gustave Moreau, Paris. The Art Archive/Dagli Orti.—Muckross House, Killarney, Ireland, photograph. © Dave G. Houser/Corbis. Reproduced by permission.—“Non White Shop” sign above door, 1973, Johannesburg, South Africa, photograph. AP/Wide World Photos, Inc. Reproduced by permission.— Palin, Nicki. From a cover of The Iliad. Retold by Barbara Leonie Picard. Oxford, 1992. Copyright © Oxford University Press 1960. All rights reserved. Reproduced by permission of Oxford University Press.—People surrounding throne seat, manuscript illustration, text image, 14th Century, medieval Italian, photograph. © Historical Picture Archive/Corbis. Reproduced by permission.— Poe, Edgar Allan, photograph. Corbis- Bettmann. Reproduced by permission.—Poet’s Corner, Westminster Abbey, London, England, UK, photograph. © Bettmann/Corbis. Reproduced by permission.—Pound, Ezra, photograph. Archive Photos. Reproduced by permission.—Procession of flagellants wearing conical hats, carrying statue of Virgin Mary, painting. © Archivo Iconografico, S.A./Corbis. Reproduced by permission.—Queen Victoria, 1897, photograph. Archive Photos, Inc./ Popperfoto. Reproduced by permission.—Racine, Jean, lithograph. The Library of Congress.—Robeson, Paul, as Brutus Jones, throwing his hands up, surrounded by ghosts, scene from the 1933 film “The Emperor Jones,” photograph. © Underwood & Underwood/Corbis. Reproduced by permission.— Rousseau, Jean Jacques, photograph. AP/ Wide World Photos. Reproduced by permission.— Ruins of ancient Greek theater, Taormina, Sicily, Italy, photograph. ©Michael Maslan Historic Photographs/ Corbis. Reproduced by permission.—Ruins of orchestra of Greek Theater and arena of Roman Amphitheater, Cyrene, Libya, photograph. © Roger Wood/Corbis. Reproduced by permission.— Ruins of the Parthenon, atop the Acropolis, Athens, Greece, photograph by Susan D. Rock. Rock. Reproduced by permission.—Rushdie, Salman, holding Satanic Verses, photograph. AP/ Wide World Photos. Reproduced by permission.— Russian peasants, photograph. Corbis-Bettmann. Reproduced by permission.—Said, Edward, Professor, photograph. UPI/Corbis Bettmann. Reproduced by permission.—Scene from the film “2001: A Space Odyssey,” photograph. The Kobal Collection. Reproduced by permission.—Scene from the Science Fiction and Fantasy film “Brazil,” directed by Terry Gilliam, photograph. The Kobal Collection. Reproduced by permission.—Scene from the theatrical production of “Waiting for Godot,” play written by Samuel Beckett, at Lyric Theatre, Hammersmith, London, England, UK, photograph. © Robbie Jack/Corbis. Reproduced by permission.—Sculpture of a Greek Theater Mask, Castle of St. Peter, Bodrum, Turkey, photograph. © Chris Hellier/Corbis. Reproduced by permission.—“Self-Portrait with Black Clay Vase and Spread Fingers,” painting by Egon Schiele. Archivo Iconografico, S.A./Corbis. Reproduced by permission.—Shelley, Mary Wollstonecraft, illustration. Corbis-Bettmann. Reproduced by permission.— Statue of Daniel O’Connell, O’Connell Street, Dublin, Ireland, photograph. © David Reed/Corbis. Reproduced by permission.—Strindberg, August, painting by Richard Bergh. The Bettman Archive. Reproduced by permission.— Title page from The Plays of Christopher Marlowe, photograph. © Archivo Iconografico, S.A./ Corbis. Reproduced by permission.—Title page of “Encyclopedia,” 1751, Editor, Diderot, Denis, photograph. The Library of Congress.—Vergil, drawing. Archive Photos, Inc. Reproduced by permission.— Verne, Jules, 1904, photograph.—Voltaire, French author, holding literary and scientific discussion, illustration. © Bettmann/Corbis. Reproduced by permission.—Vonnegut, Kurt, New York City, 1979, photograph. AP/Wide World Photos. Reproduced by permission.—W.C. Fields, with unknown children and woman, Freddie Bartholomew and Elsa Lanchester, photograph. The Kobal Collection. Reproduced by permission.— Walden Pond, view from Henry David Thoreau’s hut, Lincoln, Massachusetts, photograph. © Bettmann/Corbis. Reproduced by permission.— Wedekind, Frank, photograph. Hulton- Deutsch Collection/Corbis-Bettmann. Reproduced by permission.—Whitman, Walt. From a cover of Song of Myself: Walt Whitman. Shambhala, 1993. Cover art courtesy of the Yale Collection of American Literature, Beinecke Library; Yale University. Reproduced by permission of Shambhala Publications, Inc.—Williams, William Carlos, photograph. Archive Photos, Inc. Reproduced by permission.—Winfrey, Oprah with Kimberly Elise and Thandie Newton in scene from “Beloved,” photograph. Fotos International/Archive Photos. Reproduced by permission.—Woodcut print of “A Dance of Death,” from “Liber Chronicarum,” compiled by Hartmann Schedel, photograph. © Historical Picture Archive/Corbis. Reproduced by Corbis Corporation.—Woolf, Virginia, photograph. © Hulton-Deutsch Collection/Corbis. Reproduced by permission.—Young girl standing by a power loom, photograph. National Archives and Records Administration.—Zola, Emile, photograph. AP/Wide World Photos. Reproduced by permission.