Hostname: page-component-848d4c4894-wg55d Total loading time: 0 Render date: 2024-06-11T03:12:38.863Z Has data issue: false hasContentIssue false
  • English
  • Français

Editor's Column: “Black Men Dressed in Gold”—Eudora Welty, Empty Objects, and the Neobaroque

Published online by Cambridge University Press:  23 October 2020

Patricia Yaeger
Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Editorial
Information
PMLA , Volume 124 , Issue 1 , January 2009 , pp. 11 - 24
Copyright
Copyright © 2009 by The Modern Language Association of America

References

Works Cited

A.I.: Artificial Intelligence. Dir. Steven Spielberg. Warner Brothers, 2001. Film.Google Scholar
Bal, Mieke. Quoting Caravaggio: Contemporary Art, Preposterous History. Chicago: U of Chicago P, 1999. Print.Google Scholar
Bleikasten, André. “Homespun Horrors: ”The Burning.'“ Colloque Eudora Welty: The Poetics of the Body. Fondation William Faulkner, 2002. Web. 7 Nov. 2008.Google Scholar
Bloch, Ernst. “Nonsynchronism and the Obligation to Its Dialectics.” Trans. Mark Ritter. New German Critique 11 (1977): 22–38. Print.CrossRefGoogle Scholar
Brathwaite, Edward Kamau. The History of the Voice: The Development of Nation Language in Anglophone Caribbean Poetry. London: New Beacon, 1984. Print.Google Scholar
Carpentier, Alejo. “The Baroque and the Marvelous Real.” Magical Realism: Theory, History, Community. Trans. Tanya Huntington and Lois Parkinson Zamora. Durham: Duke UP, 1995. 89–108. Print.CrossRefGoogle Scholar
Chaucer, Geoffrey. Troilus and Criseyde. The Works of Geoffrey Chaucer. Ed. Robinson, F. N. Boston: Houghton, 1961. 385–479. Print.Google Scholar
Collins, Lauren. “Lost and Found.” The New Yorker. CondéNet, 1 Sept. 2008. Web. 21 Nov. 2008.Google Scholar
Combs, Marianne. “Repainting Art History.” Minnesota Public Radio. Minnesota Public Radio, 11 Mar. 2005. Web. 10 Nov. 2008.Google Scholar
Deleuze, Gilles. The Fold: Leibniz and the Baroque. Trans. Tom Conley. Minneapolis: U of Minnesota P, 1993. Print.Google Scholar
Egginton, William. “The Corporeal Image and the New World Baroque.” South Atlantic Quarterly 106.1 (2007): 107–27. Print.Google Scholar
Galeano, Eduardo. Open Veins of Latin America: Five Centuries of the Pillage of a Continent. New York: Monthly Rev., 1997. Print.Google Scholar
Kadir, Djelal. Questing Fictions: Latin America's Family Romance. Minneapolis: U of Minnesota P, 1986. Print.Google Scholar
Kaup, Monika. “Becoming-Baroque: Folding European Forms into the New World Baroque with Alejo Carpentier.” CR: The New Centennial Review 5.2 (2005): 107–49. Print.Google Scholar
Pollack, Harriet, and Marrs, Suzanne. “Seeing Welty's Political Vision in Her Photographs.” Eudora Welty and Politics. Ed. Pollack, and Marrs, . Baton Rouge: Louisiana State UP, 2001. 223–51. Print.Google Scholar
Roach, Joseph. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia UP, 1996. Print.Google Scholar
Salgado, César Augusto. “Hybridity in New World Baroque Theory.” Journal of American Folklore 112.445 (1999): 316–31. Print.Google Scholar
Welty, Eudora. “The Burning.” “The Bride of the Innisfallen” and Other Stories. New York: Harcourt, 1955. 28–46. Print.Google Scholar
Welty, Eudora. “An Interview with Eudora Welty.” By Jan Nordby Gretlund. Conversations with Eudora Welty. Ed. Prenshaw, Peggy Whitman. New York: Washington Square, 1985. 211–29. Print.Google Scholar
Westling, Louise. “The Loving Observer of One Time, One Place.” Mississippi Quarterly 39.4 (1986): 587–604. Print.Google Scholar
Yaeger, Patricia. “Circum-Atlantic Superabundance: Milk as World-Making in Alice Randall and Kara Walker.” Global Contexts, Local Literature: The New Southern Studies. Spec. issue of American Literature 78.4 (2006): 769–98. Print.Google Scholar
Yaeger, Patricia. “Ghosts and Shattered Bodies; or, What Does It Mean to Still Be Haunted by Southern Literature?” South Central Review 22.1 (2005): 87–109. Print.CrossRefGoogle Scholar
Zamora, Lois Parkinson. The Inordinate Eye: New World Baroque and Latin American Fiction. Chicago: U of Chicago P, 2006. Print.Google Scholar