Traveling Genres

  title={Traveling Genres},
  author={Margaret W. Cohen},
  journal={New Literary History},
  pages={481 - 499}
How do literary genres travel across national contexts? What aspects of a genre's poetics make it transportable and/or translatable? "Traveling Genres" takes up this question by considering the case of sea fiction, one of the most successful transnational literary genres of the 19th century. Looking at early examples of the genre drafted by authors in each of the three national contexts where it first took root (James Fenimore Cooper, US; Frederick Marryat, UK; and Eugene Sue, France). I argue… 

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Cunning Intelligence in Greek Society, tr. Janet Lloyd (Atlantic Highlands

  • N.J
  • 1978

Here, I summarize arguments I made in "Sentimental Communities

  • The Literary Channel
  • 2002

Fredric Jameson makes this point in The Political Unconscious

  • hereafter cited in text as PU, and it remains fully to be addressed
  • 1981

preface to Two Years Before the Mast: A Personal Narrative of Life at Sea, introduction by Gary Kinder

  • 2001

Note that Kingsley was to take the reverse trajectory in his career as a writer: from Alton Locke (1850) to Westward Ho!

    Know-how also has its upper class version in the "maneuvering" of the marriage market and the drawing room in the second half of the eighteenth century, where it retains morally corrupt overtones

      This point was emphasized at the History of the Maritime Book conference

        This approach owes much to Michel Foucault liberating discourse from the constraints of genre along with traditional literary studies in The Archaeology of Knowledge

        • 1972