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Poetry as a Strategy for Teaching English: Using Nikki Giovanni's Poetry in the English as a Second-/Foreign-Language Classroom

This article explores ways to introduce and integrate poetry in English classes in the context of second-language education. My aim is to spark interest in contemporary poetry while addressing general perceptions by both teachers and students that poetry is difficult to engage in. I thus argue for an approach that centers on "easier" poems and involves aspects of contemporary popular culture to introduce poetry, help students appreciate it, and eventually engage in creative writing of their own. Furthermore, I suggest ways in which poetry can be integrated in English courses at large, via the inclusion of strings of poems, within their broader cultural contexts, and by linking them to different, more popular cultural forms of expression, such as songs, films, and cartoons. I exemplify this approach by focusing on two poems by African American poet Nikki Giovanni. "Knoxville, Tennessee" and "Nikki-Rosa" are autobiographical poems which offer first-person accounts of the poet's African American cultural background. However, my intertextual approach interconnects these poems with other poems and cultural texts from different parts of the English-speaking world. Ultimately, I suggest that poetry, due to its brevity and open-endedness, can enhance the study of the English language and Anglophone cultures in a variety of ways beyond the close study of verse in terms of aesthetics.

More than a Feeling: Why the Lewis and Clark Expedition Did not Experience 'the Sublime' at the Great Divide when Crossing the American Continent

When in the early summer of 1805 Meriwether Lewis for the first time sights the great mountains of the American West, he merely reports "an august spectacle." The word "august" was not then an aesthetic category, nor did it usually describe visual contact with landscape. Categories used for these purposes were the picturesque and the sublime. Whereas there are numerous examples of the picturesque in the journals of the Lewis and Clark expedition, the sublime draws a blank. In my contribution, I will be offering several reasons for the absence of description in the sublime mode: (1) Like their contemporaries, Lewis and Clark held nature up to the yardstick of utility, calculating the agricultural potential of the land or the navigability of a river. (2) The Lewis and Clark expedition was a military expedition, sent out by President Jefferson not to stand in awe at sublime grandeur but to document a useful landscape. (3) Seeing mountains as sublime was essentially a matter of an individual imagination. The Corps of Discovery was a group, whose success depended on cooperation. Hence, the individual imagination must take a back seat. (4) The actual experience of hardship and adversity during the crossing of the Rockies would have obviated any description in the "grand style." (5) Finally, the Corps of Discovery was not even prepared to encounter the great mountains of the West, expecting instead gentle rolling hills that would enable an easy portage to the Columbia River and, if anything, call for picturesque description.

Intermedial and Transnational Hip Hop Life Writing

In lieu of an abstract, here is the first paragraph of this forum contribution:

The growing popularity of celebrity life writing and of memoirs which focus on the respective memoirist's specific social, professional, ethnic, or other context also spawned a large number of autobiographical publications by persons in the music industry. The field of musical autobiography is a recent development for which a niche in life-writing scholarship has only been carved out in the past decade. The growing number of autobiographical book publications as well as autobiographical self-representations in non-analog, non-printed, not primarily verbal formats raises the questions as to whether specific genres of hip-hop life writing have been evolving and as to the perspectives from which scholars should discuss them.

In Search for Alternatives: Queer Theorizing, Affect, and the Horror Film

This article argues that queer theories of affect not only offer an alternative approach to analyzing the horror film in the twenty-first century, but also that a new wave of horror media negotiates its social criticism in newly queer ways. Analyzing Ari Aster's 2018 film Hereditary, it becomes clear that its horrifying effect stems from queer affects within its narrative that both its character and audience share. In this, Hereditary goes beyond traditional forms of criticism regarding its deconstruction of normative family structures, present in horror films as early as 1974's The Texas Chainsaw Massacre, as it not only points to potential horrors within the traditional family but instead lays open the inherent, inescapable affective horrors of these normative structures and narratives of belonging, necessitating the need for alternative forms of self-determination and community. Doing so, the film utilizes the established forms of the genre but plays both within and outside of its conventions, affecting its audience beyond mere shock. In applying queer theories of affect and negativity to the film, this article demonstrates a critique of the horrors of real-life institutions and systems that plague (queer) existence in our neoliberal society: normative family structures, sexual and romantic normativities, and complex feelings of (not) belonging. In this reading, Hereditary serves as a powerful counternarrative to the cruelly optimistic narratives of everyday life.

Thereness: Video Game Mountains as Limits of Interactivity

This article theorizes the abstract quality of "thereness," or a challenging presence that both invites and resists being engaged by humans, which is central to the ludic and symbolic function of a number of related video games in recent years. I will discuss games that deliberately resist the mimetic approach of an ever-increasing "realism" in this popular medium but rather explore the allegorical aspects of the mountains, notably without turning them into "mere" metaphors but insisting on their own distinct existence as something beyond ourselves. As virtual mountains that are not really to be played with, they invite a philosophical, cultural, and aesthetic interpretation as human mediations of what resists both mediation and the human, as something always just beyond our full cognitive and epistemological grasp, a limit rather than an object of our consciousness. I will discuss how games such as Celeste (2018), Getting Over It with Bennett Foddy (2017), and Mountain (2014) use their unique audiovisual, tactile, and ludic qualities to convey this elusive "thereness" of the mountain as something that both challenges and rejects human interaction. Instead of offering their players the fantasy of power and control that so often underlies contemporary video games, these games evoke the otherness of mountains to take their players to the limits of interactivity within a medium that is fundamentally defined by this very interactivity.

One Nation Under Many Cowboy Hats: Western Hats and American Studies—A Cultural-Historical Conspectus

Commencing with the polemic that "everybody has always worn cowboy hats," this article (re)conceptualizes western hats as significant, signifying, wearable, and thus nomadic manifestations of Americanness. Their material complexity lends itself to thinking through the cultural fabric of Americanness, which, depending on the vantage point, oscillates between dominant and arguably homogeneous permutations of predominately white Americanness, and the checkered, multicultural "felt" that is the American experience at large, and that of the American West in particular.

Cabin Fever, or: Back to the Future? The (Anti-)Pastoral in Uncle Tom's Cabin (1852) and Walden (1854)

Canonized classics of US-American literature such as Harriet Beecher Stowe's Uncle Tom's Cabin; or, Life Among the Lowly and Henry David Thoreau's Walden; or, Life in the Woods were published at the beginning of the 1850s – that crucial moment in the history of the United States when it found itself on the brink of the Civil War. Both works epitomize the nation's contemporaneous racial climate, i.e. the legacy and workings of the institution of slavery, in the simple material form of the cabin. Deploying the theoretical frame of the pastoral, essentially qualified by the anti-pastoral (Bennett, M. 195–210) and the strategic pastoral (Klestil 85–124), this article argues that Stowe and Thoreau materialize the past and presence of slavery in the cabin in order to explicitly (Uncle Tom's Cabin) or implicitly (Walden) imagine and speculate about a future nation without slavery. This article hence compares and historicizes two defining literary versions of a United States the cultural influence and power of which are rooted in their respective depiction of the cabin as "both icon and shelter" (Hoagland 8).

Postcolonial and Transoceanic Life Writing

In lieu of an abstract, here is the first paragraph of this forum contribution:

The study of life writing and postcolonial theory have had a long, intimate, and mutually constitutive relationship. The desire to more comprehensively understand the (human) subjectivities of the (formerly) colonized through (their own) cultural self-expression has driven life-writing scholars to significantly expand their canon and their scholarly methods. The human and the non-human are onto-social conditions imposed on colonized and enslaved peoples. In the context of transoceanic studies, various conditions of unfreedom can be found which call attention to the prevalence of lives deemed non-human within the parameters of European Enlightenment. Substantial advances notwithstanding, the field is still grappling with what Lisa Lowe describes as the “economy of affirmation and forgetting that structures and formalizes the archives of liberalism.”[1] This short piece contends that recently emerging (trans-)oceanic approaches hold great potential for taking the study of life writing an important step further on its way beyond the liberal economy of affirmation and forgetting.

From the Capitol to the Heartland: Analyzing Congressional Rhetoric and the "Flyover Country" Narrative

This study examines the evolution and strategic use of the term "flyover country" in US congressional rhetoric from 1995 to 2024. Initially a benign geographic descriptor, "flyover country" has transformed into a potent symbol of cultural and political identity, particularly among Republican members of Congress. Through a comprehensive analysis of congressional speeches, committee hearings, and constituent correspon­dence, this research identifies an increase in the use of flyover rhetoric, especially during the Trump era. The study reveals that "flyover" is employed to evoke a sense of victimhood and marginalization among rural constituents, highlighting perceived economic and cultural disenfranchisement by coastal elites. The findings underscore the adaptability of political language and its role in shaping and reflecting socio-political divides in the United States. This research contributes to a deeper understanding of the dynamics of congressional rhetoric and the cultural and political undercurrents that influence US-American identity and discourse.

Introduction: Notes on the Relation of Narrative, Environment, and Social Justice

The idea for this JAAAS special issue comes from the 49th Annual Conference of the Austrian Association for American Studies, which took place at the University of Salzburg in Fall 2022. Presentations covered stories we tell about our environment, and about pressing social issues of the past or present. As varied as the presentations were, the common thread was inquiring into how we – as individuals and collectives – frame our experiences in these areas through narratives, to whom we tell them, and when, where, and why. The contributions here range in their treatment of subject matter from speculative prose to theater, from film to poetry, to a history of the advertising industry. They illustrate how issues of social justice, climate change, and storytelling are intimately linked, and explore various manifestations of this nexus in fresh and surprising ways.

George Washington, the Godfather of American Entrepreneurism

Among all U.S. presidents, George Washington still ranks as the wealthiest. By the time of his death, he owned more than 52,000 acres, which secured his position among the top-ranked land-holding gentry of his day. In Washington's America, secured property was one of the most potent and consequential ideals, much as it also was a dominant cultural investment, with property figuring as "a matter of progress," in the words of a British social philosopher. In eighteenth-century America, individual property was related to working one's own land, which became the basis of civic virtue, conveying status and authority. At Mount Vernon, Washington was a farmer, not a planter, and a scientific farmer at that. Farming was not the easiest route to riches, though, and Mount Vernon's glorified façade of wealth and grandeur only covered up an operation that was, at best, only marginally profitable. Over the years, therefore, Washington became an intrepid figure in financial investment and risky enterprise, not the least of which was the development of the new national capital, whose location on the Potomac had been decided upon in June 1790. With his involvement in the capital venture, Washington fashioned for himself a new mode of economic selfhood and familial belonging that was keyed to the emerging market economy. He became what Joseph A. Schumpeter in 1911 described as a "risk-taker," America's "first commercial man" (President Calvin Coolidge in 1932), and, finally, the "godfather of American entrepreneurism" (historian Richard Norton Smith in 1993).

Introduction: American Studies in the Classroom – Arts, Culture, and Critical Pedagogy

This introduction situates the special issue's central premise that artistic and aesthetic practices offer powerful pedagogical tools for critical inquiry in American studies. Framed by the field's interdisciplinary traditions and its ongoing epistemic transformations, the introduction reflects on how classroom practices can foster analytical, emotional, and ethical engagement with cultural materials. It also highlights the political stakes of teaching US history and culture in a moment marked by curricular debates, book bans, and renewed challenges to critical scholarship. The articles collected here present innovative approaches that expand the interpretive possibilities of American studies pedagogy across classrooms, analog and digital media, as well as public spaces.

The Bicycle in the Service of Reform: Frances Willard's Social Entrepreneurship, Her 'Do Everything' Policy, and the Temperance Temple Campaign

This essay situates Frances Willard's temperance reform campaigns as entrepreneurial in nature, and claims Willard as a key nineteenth-century American social innovator. Much has been written on Willard's temperance policies and her leadership in the Woman's Christian Temperance Movement as well as her founding of the World Woman's Christian Temperance Organization. The writings Willard produced on women's access to and engagement with the bicycle as a reform technology has not been explored. In offering a narrative of the strategies and experiences Willard used to employ the bicycle as a tool or ally for temperance reform and woman's rights, this essay argues for the inclusion of women's voices in the public sphere and in publication around social and economic mobility. The bicycle offered Willard and her WCTU organization a key metonymic image--the wheel--around which to analyze the relationship of temperance to everyday lives. Willard's "Do Everything" campaign can be seen as the nineteenth-century equivalent of vast social entrepreneurship.

'When you look at a calf, what do you see?': Land(ed) Business, Manifest Entrepreneurialism, and Competing Capitalisms in the Contemporary West of Yellowstone

For a popular, mass media text, Paramount's hit television show Yellowstone (2018–) packs quite a punch. It renders visible in a mass-mediated, synecdochial format the latent and ongoing effects that settler colonialism and its entanglements with the necrotic logic of capitalism have on lifeworlds in the contemporary West. By making a traditionally privileged place—a multigenerational cattle ranch—the principal target of intrusive, increasingly powerful agents of big non-agricultural capital, who are portrayed as a threat to the local and regional polity and the social fabric of the rural West, Yellowstone says something tangible and pertinent about the fastest growing region in the United States, and the massive changes in land use and land development that have registered in the past two and a half decades.

This article pursues a goal that is twofold. Firstly, it will map the Trans-Mississippi West as an entrepreneurial habitat where the agents of settler colonialism initiated patterns that continue to undergird land ownership, land development, and land use policies in the contemporary West. Secondly, I will read and explicate how Yellowstone remediates New/Post-West scholarship—the work of social historians and cultural geographers in particular—with a seemingly didactic zeal. Ultimately, this yields a rather sober(ing) view of entrepreneurism in that its frequently quoted Schumpeterian definition—creative destruction—amounts to an ideological position that can only ever produce formations of violence, be they physical, psychological, epistemic, symbolic, and/or ecological.

The Abortion Road Trip Film and the Pronatalist Discourse in the Post-Roe v. Wade US

With the overturn of the landmark Roe v. Wade decision, which protected the constitutional right to abortion for almost 50 years, women in America are now faced with extreme difficulties when seeking an abortion. Given this dramatic pronatalist shift that seems only to be getting worse, more and more women will now have to travel through "abortion deserts" in order to seek safe and legal abortion care. Cinema has sought to mediate the troubles and struggles of women "on the road" to safe abortion. Thus, in recent years, we have watched a surge in the representation of abortion within the realm of the road-trip film genre in US-American cinema. Since 2015, several films, such as Grandma (2015), Little Woods (2018), Never Rarely Sometimes Always(2020), Unpregnant (2020), and Plan B (2021), have tackled this issue. Interestingly, only one of those films was directed/written by a male individual, highlighting the way female filmmakers are currently reshaping reproductive health narratives. Additionally, three of these films, namely Grandma, Unpregnant, and Plan B, also fall under the comedy-drama genre, particularly the road trip-buddy comedy genre. This paper aims to explore how the road-trip film genre, which has featured predominantly male characters, is now helping women to share their stories and gain more visibility regarding reproductive rights and how comedy is being used to subvert the overtly dramatic representation of abortion that enhances the pronatalist ideology in most film and television narratives.

'It sounds like erasure': Mobility, Vulnerability, and Queer Coolitude Poetics in Rajiv Mohabir's The Taxidermist's Cut

Various im/mobilities linked to colonialism have shaped the Caribbean, fundamentally structuring the unevenness of vulnerability. This paper reads vulnerabilities as relationally produced through the entanglement of human and more-than-human im/mobilities. Rajiv Mohabir's poetry collection The Taxidermist's Cut (2016) addresses the vulnerability of the Indo-Caribbean diaspora and extends it to a shared more-than-human vulnerability. This is done by employing the practice of taxidermy as a figurative device to expose violences and vulnerabilities of oppressive and colonial regimes and its legacies today. These multiple vulnerabilities are related to both imperial im/mobilizations of peoples during the period of indentureship, as well as of animals, on which taxidermy is performed, immobilizing their desired shape for eternity. The book then queers understandings of singular national affiliation and binary classifications that serve to immobilize humans and non-humans alike, and instead moves out of these fixation by opening up the vulnerabilities of the self to other possibilities. 

'The Beast from the East': Mental Dis/Ability and the Fears of Post-Socialist Mobility in North American Popular Culture

This article analyzes characters in North American popular culture who migrated from the post-socialist world to the United States and other western countries. It focuses on the Anglo-Ukrainian clone Helena in the television show Orphan Black (Space/BBC America, 2013-2017), the Russian girl Esther in the horror movie Orphan (2009), and the psychopathic Russian assassin Villanelle in the television show Killing Eve (BBC America, 2018-2022). All these fictional characters are orphans. Moreover, they all share the same pathology: a mental disorder or disability that predestines them to become ruthless killers. I argue that the fictional killers embody North American fears surrounding the mobility of the Cold War Other in the aftermath of the fall of the so-called Iron Curtain and the dissolution of the Soviet Union.

What We Imagine Knowledge to Be: Wallace Stevens, Elizabeth Bishop, and Seventy Years of American Studies

This essay looks back to 1947, the year that the Salzburg seminar was inaugurated, as well as looking at contemporary issues in American studies to chart where we have come from to date and where the field is heading. Its main argument examines the poems "Ésthetique du Mal" by Wallace Stevens from his 1947 collection Transport to Summer and "At the Fishhouses" by Elizabeth Bishop, first published in 1947, and explores common themes of knowledge, pain, loss, and history. As the Western world experiences again a moment of political and cultural uncertainty brought to the center stage of US and European discourse in 2016 by the election of Donald Trump and the UK vote to leave the European Union, Stevens and Bishop offer routes forward through such moments of heightened politicization. American studies, as a field of interconnected disciplines, continually confronts the difficult aspects of twentieth- and twenty-first-century life. As the rise of the Black Lives Matter and #MeToo movements have indicated, the open ruptures within American society will continue to pour forth debates requiring urgent critical attention and discussion. Incidents of racial hatred, of right-wing extremism, and of abusive misogynistic sexism, dormant to varying degrees prior to Trump's election, have come to the surface of a nation increasingly riven by what the reality of his Presidency means for America. Our job, as researchers and teachers, is to engage each and every aspect of this moment in history, however contested or controversial they may be.

"Last Frontier. North to the Future." – Oil-Age Alaska and the Environmental Critique in Mei Mei Evans's Oil and Water

This article discusses Mei Mei Evans's 2013 novel Oil and Water as a critical response to the competing narratives that have historically shaped three dominant versions of Alaska in the national imagination: as the Last Frontier to be explored, as an enduring frontier promising a balance between resource extraction and environmental protection, and as a wilderness to be preserved. Inspired by the 1989 Exxon Valdez oil spill, which takes a pivotal place in US environmental history, the novel offers a realistic exploration of the environmental, social, and cultural consequences of oil dependency. By dramatizing the spill's devastating impact on both human and more-than-human life, Oil and Water challenges the images of Alaska as a limitless resource frontier and the enduring frontier, while advancing the notion of Alaska as a wilderness to be protected.

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