This issue is devoted to a long article on Theodore Dreiser's The Financier. It is a novel much out of fashion because it is written in the high style of melodrama and so just before the transition to Modernism as a mode of thought and a mode of aesthetics. It is to be appreciated on its own terms as akin to the melodrama found in Verdi. The key to melodrama of all sorts is to be found in the appeal to and resistance against conventional opinion rather than to the liberating emotions found in tragedy and comedy.
SIGN UP FOR TWITTER @MWenglinsky TO GET TICKLERS ON NEW POSTS.
The purpose of this e-journal is to use in tandem the techniques of literary criticism and social structural analysis to illuminate American politics and the various institutions in American society and sometimes matters more global, like religion or war, by turning an eye on the events and objects and performances that are considered art and entertainment, those defined broadly enough to include whatever is covered in newspapers and other media. Another concern is to pick up the texture of social life, both in the United States and in general, through the analysis of those events, objects and performances that are to be found in everyday life.