New Historicism and Cultural Materialism

JOHN BRANNIGAN is Lecturer in Literary Studies and Irish Studies at the University of Luton. He has published essays on new historicism, cultural materialism, Derrida and has co-edited books on Derrida and Joyce. He is currently working on a study of 1950s writings in England.

• General Editor's PrefaceList of AbbreviationsAcknowledgementsIntroduction: Literature in HistoryPART 1: THE TURN TO HISTORY Key Contexts and TheoristsNew Historicism: Representations of History and PowerCultural Poetics: After the New Historicism?Cultural Materialism: Literature and Dissident PoliticsNew Historicism and Cultural Materialism TodayPART 2: APPLICATIONS AND READINGS 'On the Edge of a Black and Incomprehensible Frenzy': An New Historicist Reading of Joseph Conrad's Heart of DarknessProducing the Subject: A New Historicist Reading of Charlotte Perkins Gilmans's The Yellow WallpaperCultural Materialism and Reading Dissidence in(to) the Poetry of Alfred Tennyson'I Write it out in a Verse': Power, History and Colonialism in W.B.Yeat's Easter 1916PART 3: AFTERWORDS After History: Textuality and Historicity in New HistoricismThe Importance of Not ConcludingAnnotated BibliographyBibliographyIndex.

'Lucid, vivid and fluent, this study presents both new historicism and cultural materialism in a sympathetic manner, while also offering some penetrating criticisms of both movements. The result is a work which manages to introduce these theories to students while at the same time rebuking some of their exponents for an excessive social pessimism. What is offered, therefore, is a truly creative intervention in the developing debate. Dr Brannigan tries at all times to keep open the possible meanings in a text and open also to the range of texts which might be exposed to a particular treatment. He tests the theories against a number of very different works by Joseph Conrad, Charlotte Perkins Gilman, Alfred Lord Tennyson and WB Yeats and he tests the chosen texts by the methodologies brought to bear on them. Far from treating these authors' works as illustrations of an a priori argument, Dr Brannigan, like all the best critics, finds in each of them unsuspected layers of meaning. The reading of Yeats, in particular, shows him at his scrupulous best. In the concluding section, Dr Brannigan speculates about likely future trends. In these exhilarating pages, far from proclaiming the triumph of either literature or theory, he effectively explodes the distinction between them. For this book shows how there can be no literature without some theory of art and also that the finest criticism may be raised to the level of artistic utterance. He brings to bear on the newer -isms the same vigilant scepticism which their exponents rightly brought to bear on practical criticism, but he also offers a margin of hope to those who wish to dismantle the lineaments of power in society or in culture.' - Professor Declan Kiberd, University College Dublin