Hildegard Hoeller
Biographic Data
| ID | 1079359 |
|---|---|
| NAME | Hildegard Hoeller |
| GIVEN NAMES | Hildegard |
| FAMILY NAME | Hoeller |
| SIGNATURE | HOELLER H |
| AFFILIATIONS | College of Staten Island |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Emotional Reinventions: Realist-Era Representations beyond SympathyTough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil
How can we engage with one another and respond to suffering without feeling sentimental empathy or sympathy? What lies outside the pitfalls of sympathy that is not merely cold, unfeeling, and alienated? These are the questions at the core of both Melanie V. Dawson’s Emotional Reinventions and Deborah Nelson’s Tough Enough. Dawson focuses on American literary realism’s overlooked interest in emotions and its deliberately unsentimental ways of regi…
The Collage Aesthetic in the Harlem Renaissance (review)
Reviewed by: The Collage Aesthetic in the Harlem Renaissance Hildegard Hoeller Rachel Farebrother. The Collage Aesthetic in the Harlem Renaissance. Farnham, UK: Ashgate, 2009. 219 pp. $99.95. Rachel Farebrother’s The Collage Aesthetic in the Harlem Renaissance is a book that fulfills its promises. Quite contrary to the form upon which it focuses, it guides the reader clearly, linearly, and compellingly through its central argument. By the end of …
Invisible Blackness in Edith Wharton's Old New York
Invisible Blackness in Edith Wharton’s Old New York Hildegard Hoeller (bio) Clem Spender’s child—growing up on charity in a Negro hovel, or herded in one of the plague-houses they called Asylums. No: the child came first—she felt it in every fibre of her body. —Edith Wharton, “The Old Maid” (1924) I hate to be photographed because results are so trying to my vanity; but I would do anything to obliterate the Creole lady who has been masquerading i…
(Im)Possible Gifts in Herman Melville's Typee and The Confidence-Man ”
A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism; Women, Compulsion, Modernity: The Moment of American Naturalism
Book Review| March 01 2006 A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism; Women, Compulsion, Modernity: The Moment of American Naturalism. A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism. By John Dudley. Tuscaloosa: Univ. of Alabama Press. 2004. viii, 222 pp. $35.00.Women, Compulsion, Modernity: The Moment of American Naturalism. By Jennifer L. Fleissner. Chicago: Univ. of Chic…
Racial Currency: Zora Neale Hurston's "The Gilded Six-Bits" and the Gold-Standard Debate
Research Article| December 01 2005 Racial Currency: Zora Neale Hurston's “The Gilded Six-Bits” and the Gold-Standard Debate Hildegard Hoeller Hildegard Hoeller Search for other works by this author on: This Site Google American Literature (2005) 77 (4): 761–785. https://doi.org/10.1215/00029831-77-4-761 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Hildegard Hoeller; Racial Currency: Zora Neale …
Ama Ata Aidoo's Heart of Darkness
This essay reads Aidoo's novel Our Sister Killjoy as a postcolonial revision of Joseph Conrad's Heart of Darkness. While both novels have been accused of being racist texts, this essay argues that the implied existence of Conrad's text is crucial for our understanding of Aidoo's racist representational strategies. The drama of Aidoo's novel lies in approaching and refraining from the horror of the racism of Conrad's Heart of Darkness
Separate Spheres No More: Gender Convergence in American Literature 1830-1930
Although they wrote in the same historical milieu as their male counterparts, women writers of the 19th- and early 20th-centuries have generally been ghettoized by critics into a separate canonical sphere. These original essays argue in favor of reconciling male and female writers, both historically and in the context of classroom teaching. While some of the essays pair up female and male authors who write in a similar style or with similar conce…
Designer Selves in Tom Wolfe's The Bonfire of the Vanities and Danielle Steel's Crossings
Both Tom Wolfe in his realist novel The Bonfire of the Vanities and Danielle Steel in her sentimental novel Crossings use designer and brand names as narrative tools. While such a use of designer names enhances the verisimilitude of the novels, it also involves both authors in complex, post-modern revisions of the nineteenth century literary traditions - realism and sentimental fiction - they place themselves in
Racial Currency: Zora Neale Hurston's "The Gilded Six-Bits" and the Gold-Standard Debate
Research Article| December 01 2005 Racial Currency: Zora Neale Hurston's “The Gilded Six-Bits” and the Gold-Standard Debate Hildegard Hoeller Hildegard Hoeller Search for other works by this author on: This Site Google American Literature (2005) 77 (4): 761–785. https://doi.org/10.1215/00029831-77-4-761 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Hildegard Hoeller; Racial Currency: Zora Neale …
Designer Selves in Tom Wolfe's The Bonfire of the Vanities and Danielle Steel's Crossings
Both Tom Wolfe in his realist novel The Bonfire of the Vanities and Danielle Steel in her sentimental novel Crossings use designer and brand names as narrative tools. While such a use of designer names enhances the verisimilitude of the novels, it also involves both authors in complex, post-modern revisions of the nineteenth century literary traditions - realism and sentimental fiction - they place themselves in
Separate Spheres No More: Gender Convergence in American Literature 1830-1930
Although they wrote in the same historical milieu as their male counterparts, women writers of the 19th- and early 20th-centuries have generally been ghettoized by critics into a separate canonical sphere. These original essays argue in favor of reconciling male and female writers, both historically and in the context of classroom teaching. While some of the essays pair up female and male authors who write in a similar style or with similar conce…
Ama Ata Aidoo's Heart of Darkness
This essay reads Aidoo's novel Our Sister Killjoy as a postcolonial revision of Joseph Conrad's Heart of Darkness. While both novels have been accused of being racist texts, this essay argues that the implied existence of Conrad's text is crucial for our understanding of Aidoo's racist representational strategies. The drama of Aidoo's novel lies in approaching and refraining from the horror of the racism of Conrad's Heart of Darkness
Racial Currency: Zora Neale Hurston's "The Gilded Six-Bits" and the Gold-Standard Debate
Research Article| December 01 2005 Racial Currency: Zora Neale Hurston's “The Gilded Six-Bits” and the Gold-Standard Debate Hildegard Hoeller Hildegard Hoeller Search for other works by this author on: This Site Google American Literature (2005) 77 (4): 761–785. https://doi.org/10.1215/00029831-77-4-761 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Hildegard Hoeller; Racial Currency: Zora Neale …
A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism; Women, Compulsion, Modernity: The Moment of American Naturalism
Book Review| March 01 2006 A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism; Women, Compulsion, Modernity: The Moment of American Naturalism. A Man's Game: Masculinity and the Anti-Aesthetics of American Literary Naturalism. By John Dudley. Tuscaloosa: Univ. of Alabama Press. 2004. viii, 222 pp. $35.00.Women, Compulsion, Modernity: The Moment of American Naturalism. By Jennifer L. Fleissner. Chicago: Univ. of Chic…
(Im)Possible Gifts in Herman Melville's Typee and The Confidence-Man ”
The Collage Aesthetic in the Harlem Renaissance (review)
Reviewed by: The Collage Aesthetic in the Harlem Renaissance Hildegard Hoeller Rachel Farebrother. The Collage Aesthetic in the Harlem Renaissance. Farnham, UK: Ashgate, 2009. 219 pp. $99.95. Rachel Farebrother’s The Collage Aesthetic in the Harlem Renaissance is a book that fulfills its promises. Quite contrary to the form upon which it focuses, it guides the reader clearly, linearly, and compellingly through its central argument. By the end of …
Invisible Blackness in Edith Wharton's Old New York
Invisible Blackness in Edith Wharton’s Old New York Hildegard Hoeller (bio) Clem Spender’s child—growing up on charity in a Negro hovel, or herded in one of the plague-houses they called Asylums. No: the child came first—she felt it in every fibre of her body. —Edith Wharton, “The Old Maid” (1924) I hate to be photographed because results are so trying to my vanity; but I would do anything to obliterate the Creole lady who has been masquerading i…
Emotional Reinventions: Realist-Era Representations beyond SympathyTough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil
How can we engage with one another and respond to suffering without feeling sentimental empathy or sympathy? What lies outside the pitfalls of sympathy that is not merely cold, unfeeling, and alienated? These are the questions at the core of both Melanie V. Dawson’s Emotional Reinventions and Deborah Nelson’s Tough Enough. Dawson focuses on American literary realism’s overlooked interest in emotions and its deliberately unsentimental ways of regi…
Art (7 works) · Art history (6 works) · Literature (6 works) · American and British Literature Analysis (5 works) · Aesthetics (3 works) · American Literature and Culture (3 works) · Citation (3 works) · Computer Science (3 works) · History (3 works) · Performance art (3 works)