thesis on new historicism pdf

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In This Article Expand or collapse the "in this article" section New Historicism

Introduction, general overviews.

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• Feminist Studies
• New New Historicism, or New Materialism

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New Historicism by Neema Parvini LAST REVIEWED: 26 July 2017 LAST MODIFIED: 26 July 2017 DOI: 10.1093/obo/9780190221911-0015

New historicism has been a hugely influential approach to literature, especially in studies of William Shakespeare’s works and literature of the Early Modern period. It began in earnest in 1980 and quickly supplanted New Criticism as the new orthodoxy in early modern studies. Despite many attacks from feminists, cultural materialists, and traditional scholars, it dominated the study of early modern literature in the 1980s and 1990s. Arguably, since then, it has given way to a different, more materialist, form of historicism that some call “new new historicism.” There have also been variants of “new historicism” in other periods of the discipline, most notably the romantic period, but its stronghold has always remained in the Renaissance. At its core, new historicism insists—contra formalism—that literature must be understood in its historical context. This is because it views literary texts as cultural products that are rooted in their time and place, not works of individual genius that transcend them. New-historicist essays are thus often marked by making seemingly unlikely linkages between various cultural products and literary texts. Its “newness” is at once an echo of the New Criticism it replaced and a recognition of an “old” historicism, often exemplified by E. M. W. Tillyard, against which it defines itself. In its earliest iteration, new historicism was primarily a method of power analysis strongly influenced by the anthropological studies of Clifford Geertz, modes of torture and punishment described by Michel Foucault, and methods of ideological control outlined by Louis Althusser. This can be seen most visibly in new-historicist work of the early 1980s. These works came to view the Tudor and early Stuart states as being almost insurmountable absolutist monarchies in which the scope of individual agency or political subversion appeared remote. This version of new historicism is frequently, and erroneously, taken to represent its entire enterprise. Stephen Greenblatt argued that power often produces its own subversive elements in order to contain it—and so what appears to be subversion is actually the final victory of containment. This became known as the hard version of the containment thesis, and it was attacked and critiqued by many commentators as leaving too-little room for the possibility of real change or agency. This was the major departure point of the cultural materialists, who sought a more dynamic model of culture that afforded greater opportunities for dissidence. Later new-historicist studies sought to complicate the hard version of the containment thesis to facilitate a more flexible, heterogeneous, and dynamic view of culture.

Owing to its success, there has been no shortage of textbooks and anthology entries on new historicism, but it has often had to share space with British cultural materialism, a school that, though related, has an entirely distinct theoretical and methodological genesis. The consequence of this dual treatment has resulted in a somewhat caricatured view of both approaches along the axis of subversion and containment, with new historicism representing the latter. While there is some truth to this shorthand account, any sustained engagement with new-historicist studies will reveal its limitations. Readers should be aware, therefore, that while accounts that contrast new historicism with cultural materialism—for example, Dollimore 1990 , Wilson 1992 , and Brannigan 1998 —can be illuminating, they can also by the terms of that contrast tend to oversimplify. Be aware also that because new historicism has been a controversial development in the field, accounts are seldom entirely neutral. Mullaney 1996 , for example, was written by a new historicist, while Parvini 2012 was written by an author who has been strongly critical of the approach.

Brannigan, John. New Historicism and Cultural Materialism . Transitions. New York and London: Palgrave Macmillan, 1998.

DOI: 10.1007/978-1-349-26622-7

Introduction to new historicism and cultural materialism aimed at the general reader and student, which does much to elucidate the differences between those two schools. In doing so, however, it is perhaps guilty of oversimplification, especially as regards the new historicists, who, according to Brannigan, never progress beyond the hard version of the containment thesis.

Dollimore, Jonathan. “Critical Developments: Cultural Materialism, Feminism and Gender Critique, and New Historicism.” In Shakespeare: A Bibliographical Guide . New ed. Edited by Stanley Wells, 405–428. Oxford: Clarendon, 1990.

A cultural-materialist take on “critical developments” over the decade of the 1980s that elaborates on the differences between new historicism and cultural materialism. Useful document of its time, but be aware of identifying new historicists too closely with the containment thesis it outlines, which became softer and more nuanced in later new-historicist work.

Hamilton, Paul. Historicism . New Critical Idiom. New York: Routledge, 1996.

DOI: 10.4324/9780203426289

Guide to wider tradition of historicism from ancient Greece to the late 20th century. Chapters on Michel Foucault and new historicism usefully view both subjects through this wider lens, although some of the nuances (for example, the differences between new historicism and cultural materialism) are lost along the way. See especially pp. 115–150.

Harris, Jonathan Gil. “New Historicism and Cultural Materialism: Michel Foucault, Stephen Greenblatt, Alan Sinfield.” In Shakespeare and Literary Theory . By Jonathan Gil Harris, 175–192. Oxford Shakespeare Topics. Oxford: Oxford University Press, 2010.

Structured into three parts: the first on Foucault, the second on Greenblatt’s “Invisible Bullets” (see Greenblatt 1988 , cited under Essays ), and the third on the cultural materialist Sinfield. Concise, if cursory, overview. Its focus on practice rather than theory renders it too specific to serve as a lone entry point, but useful introductory material if considered alongside other accounts.

Mullaney, Steven. “After the New Historicism.” In Alternative Shakespeares . Vol. 2. Edited by Terence Hawkes, 17–37. New Accents. New York and London: Routledge, 1996.

By its own admission a “partisan account” (p. 21) of new-historicist practice by one of its own foremost practitioners. Argues that the view of new historicism become distorted through oversimplification. Reminds us of the extent of new historicism’s theoretical and methodological innovations, which detractors “sometimes fail to acknowledge” (p. 28).

Parvini, Neema. Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism . New York and London: Bloomsbury, 2012.

DOI: 10.5040/9781472555113

More comprehensive in coverage than other available guides, perhaps owing to its more recent publication. Features a timeline of critical developments, a “Who’s Who” in new historicism and cultural materialism, and a glossary of theoretical terms. Includes sections on Clifford Geertz and Michel Foucault and offers clear distinctions between early new-historicist work and “cultural poetics.”

Robson, Mark. Stephen Greenblatt . Routledge Critical Thinkers. New York and London: Routledge, 2007.

Although centered on Greenblatt, this book effectively doubles as an introduction to new historicism and its concepts. Lucidly written, it features some incisive analysis and a comprehensive reading list to direct further study.

Wilson, Richard. “Introduction: Historicising New Historicism.” In New Historicism and Renaissance Drama . Edited by Richard Wilson and Richard Dutton, 1–18. Longman Critical Readers. New York and London: Longman, 1992.

Gains from being very theoretically well informed. Argues that new historicism is best understood, ironically, if historicized in the context of Ronald Reagan’s America and the final years of the Cold War. An excellent entry point to understanding new historicism and its concerns. A section contrasting cultural materialism with new historicism closes the piece.

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Practicing New Historicism

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Literary Theory and Criticism

Home › Stephen Greenblatt and New Historicism

Stephen Greenblatt and New Historicism

By NASRULLAH MAMBROL on November 16, 2017 • ( 2 )

While he was teaching at the University of California, Berkeley, Greenblatt helped to found a journal called Representations , in which some of the earlier important New Historicist criticism appeared. However, it was his introduction to The Power of Forms in the English Renaissance (1982) that spurred the growth of the New Historicism . In this introduction, Greenblatt differentiated what he called the “ New Historicism ” from both the New Criticism, which views the text as a selfcontained structure, and the earlier historicism which was monological and attempted to discover a unitary political vision. Both of these earlier modes of analysis, according to Greenblatt , engaged in a project of uniting disparate and contradictory elements into an organic whole, whether in the text itself or in its historical background. The earlier historicism, moreover, viewed the resulting totality or unity as a historical fact rather than the product of interpretation or of the ideological leanings of certain groups. Such a homogenizing procedure allows the unified vision of historical context to serve as a fixed point of reference which could form the background of literary interpretation.

In contrast with this earlier formalism and historicism, the New Historicism questions its own methodological assumptions, and is less concerned with treating literary works as models of organic unity than as “fields of force, places of dissension and shifting interests, occasions for the jostling of orthodox and subversive impulses.” New Historicism also challenges the hierarchical distinction between “literary foreground” and “political background,” as well as between artistic and other kinds of production. It acknowledges that when we speak of “culture,” we are speaking of a “complex network of institutions, practices, and beliefs.”

Greenblatt elaborated his statements about New Historicism in a subsequent influential essay, Towards a Poetics of Culture (1987). He begins by noting that he will not attempt to “define” the New Historicism but rather to “situate it as a practice.” What distinguishes it from the “positivist historical scholarship” of the early twentieth century is its openness to recent theory; Greenblatt remarks that his own critical practice has been informed by Foucault , as well as anthropological and social theory. He proposes to situate this practice in relation to Marxism , on the one hand, and poststructuralism , on the other. Citing passages from the Marxist Fredric Jameson and the poststructuralist Jean-François Lyotard , Greenblatt questions the generalizations made about “capitalism” in each passage. Both writers are addressing the question of the connection between art and society:

Jameson , seeking to expose the fallaciousness of a separate artistic sphere and to celebrate the materialist integration of all discourses, finds capitalism at the root of the false differentiation;  Lyotard , seeking to celebrate the differentiation of all discourses and to expose the fallaciousness of monological unity, finds capitalism at the root of the false integration. History functions in both cases as a convenient anecdotal ornament upon a theoretical structure, and capitalism appears not as a complex social and economic development in the West but as a malign philosophical principle.  

Greenblatt further charges that both Jameson and Lyotard are trying to provide a “single, theoretically satisfactory” answer to the question of the relation between art and society. Neither of these theorists can “come to terms with the apparently contradictory historical effects of capitalism.” Jameson treats capitalism as the agent of “repressive differentiation,”and Lyotard treats it as the agent of “monological totalization” (“TPC,” 5).In contrast to these reductive theories, Greenblatt espouses a critical practice that would recognize capitalism’s production of “a powerful and effective oscillation between the establishment of distinct discursive domains and the collapse of those domains into one another. It is this restless oscillation . . . that constitutes the distinct power of capitalism” (“TPC,” 6). Greenblatt wishes to move beyond literary criticism ’s familiar terminology for treating the relationship between art and society: allusion, symbolism, allegory, representation, and mimesis. We need to develop, he urges, terms to describe the ways in which material “is transferred from one discursive sphere to another and becomes aesthetic property,” a process which is not unidirectional because the “social discourse is already charged with aesthetic energies” (“TPC,” 11). The New Historicism is marked by a “methodological self-consciousness,” rather than the old historicist “faith in the transparency of signs and interpretative procedures.” The New Historicism will view the work of art itself as “the product of a set of manipulations . . . the product of a negotiation between a creator or class of creators, equipped with a complex, communally shared repertoire of conventions, and the institutions and practices of society” (“TPC,” 12). The general movement here is away from a mimetic theory of art to an interpretative model that will “more adequately account for the unsettling circulation of materials and discourses that is . . . the heart of modern aesthetic practice” (“TPC,” 12).

There are some problems with Greenblatt ’s arguments as stated above. To some extent, the allegedly unifying models from which New Historicism would distinguish itself are straw targets. The best New Critics engage in intricate analyses which acknowledge the contradictions and tensions in a given literary text. And the best Marxist critics do not engage in naive reflectionist theories of the connection between literary or philosophical texts and their historical contexts. Lukács ’ The Young Hegel , for example, does precisely the opposite, situating Hegel’s work within a complex network of economic and political discourses in a manner that exposes reductive liberal-humanist accounts, treating complex notions such as “contradiction” and “totality” on a high intellectual level. Greenblatt ’s characterization of what he takes to be “the” Marxist perspective violates his own New Historicist principles by treating it in isolation: clearly, the statements of a critic such as Fredric Jameson should be taken within the context of a vast tradition of Marxist thinking which has indeed recognized the complex and contradictory nature of capitalism. Jameson’s own formulation of a “dialectical criticism” at the conclusion of his Marxism and Form is a highly articulate testimony to the non-reductive and genuinely complex character of his Marxist thought, informed as it is (or was at that time) by Hegelian concepts. In fact, Greenblatt ’s own characterization of the “distinctive feature” of capitalism as the “oscillation” between totalizing and fragmenting tendencies is as reductive as the positions he impugns; moreover, this insight is already contained in the work of previous Marxist thinkers. Finally, there appears to be absent in Greenblatt ’s formulation of the New Historicism any assessment of its connections with the earlier forms of historicism discussed at the beginning of this chapter. The historicism of figures such as Dilthey and Gadamer demonstrated anything but a “faith in the transparency of signs and interpretative procedures.” It should be noted that, in both of the articles discussed above, when Greenblatt refers to the “earlier historicism,” he is thinking not of the historicism descending from Hegel or of figures such as Gadamer and Dilthey , but of the historical literary scholarship which preceded the New Criticism and which was continued in the work of figures such as Dover Wilson . In the second article, as we have seen, Greenblatt refers to this as “the positivist historical scholarship of the early twentieth century” (“TPC,” 1). The connections between the earlier lines of historicism (as opposed to positivist historical scholarship – which is anything but positivistic) and Greenblatt’s version of historicism remain unformulated.

Notwithstanding such objections, Greenblatt’s own books, such as Renaissance Self Fashioning (1980) and Shakespearean Negotiations (1988), are illustrious examples of the critical practice he advocates. The former book, for example, explores the complex ways in which identity was created in the sixteenth century in an atmosphere of competition between various institutions, authorities, and ideologies, political, religious, domestic, and colonial. And, as mentioned earlier, New Historicists have profoundly reassessed the entire image of the Renaissance and other periods, questioning conventional categories of analysis and infusing a new energy, revitalized by recent theories, into the study of literature within its cultural contexts. New Historicism has been of further value in as much as it has refused to align itself with a definite series of positions, and as such, it has drawn upon insights from Marxism , feminism , structuralism , and poststructuralism ; in turn, its insights have been enlisted by critics from a broad range of perspectives.

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The New Historicism and Heart of Darkness

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• Ross C. Murfin 2 &
• Brook Thomas  

Part of the book series: Case Studies in Contemporary Criticism ((CSICC))

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The tide of Brook Thomas’s The New Historicism and Other Old-Fashioned Topics (1991) is telling. Whenever an emergent theory, movement, method, approach, or group gets labeled with the adjective “new,” trouble is bound to ensue, for what is new today is either established, old, or forgotten tomorrow. Few of you will have heard of the band called “The New Kids on the Block.” New Age book shops and jewelry may seem “old hat” by the time this introduction is published. The New Criticism, or formalism, is just about the oldest approach to literature and literary study currently being practiced. The new historicism, by contrast, is not as old-fashioned as formalism, but it is hardly new, either. The term “new” eventually and inevitably requires some explanation. In the case of the new historicism, the best explanation is historical.

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The New Historicism: A Selected Bibliography

Bann, Stephen. The Clothing of Clio . Cambridge: Cambridge UP, 1984.

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Guerard, Albert J. Conrad the Novelist . Cambridge: Harvard UP, 1958. New York: Atheneum, 1967.

Iggers, George G. The German Conception of History . Middletown: Wesleyan UP, 1968.

Kosellek, Reinhart. Futures Past . Trans. Keith Tribe. Cambridge: MIT P, 1985.

Matthiessen, F.O. American Renaissance . New York: Oxford UP, 1941.

Miller, J. Hillis. The Disappearance of God . Cambridge: Harvard UP, 1963.

Miller, J. Hillis. Poets of Reality . Cambridge: Harvard UP, 1965.

Pearson, Charles H. National Life and Character: A Forecast . London: Macmillan, 1893.

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Murfin, R.C., Thomas, B. (1996). The New Historicism and Heart of Darkness . In: Murfin, R.C. (eds) Heart of Darkness. Case Studies in Contemporary Criticism. Palgrave, London. https://doi.org/10.1007/978-1-349-14016-9_7

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Profits of domestic financial corporations increased $73.7 billion in the first quarter, compared with an increase of $5.9 billion in the fourth quarter. Profits of domestic nonfinancial corporations decreased $114.1 billion, in contrast to an increase of $136.5 billion. Rest-of-the-world profits increased $19.3 billion, in contrast to a decrease of $8.9 billion. In the first quarter, receipts increased $29.8 billion, and payments increased $10.5 billion.

Updates to GDP

With the second estimate, downward revisions to consumer spending, private inventory investment, and federal government spending were partly offset by upward revisions to state and local government spending, nonresidential fixed investment, residential fixed investment, and exports. Imports were revised up. For more information, refer to the Technical Note . For information on updates to GDP, refer to the "Additional Information" section that follows.

Updates to Fourth-Quarter Wages and Salaries

In addition to presenting updated estimates for the first quarter, today's release presents revised estimates of fourth-quarter wages and salaries, personal taxes, and contributions for government social insurance, based on updated data from the Bureau of Labor Statistics Quarterly Census of Employment and Wages program. Wages and salaries are now estimated to have increased $58.5 billion in the fourth quarter, a downward revision of $73.0 billion. Personal current taxes are now estimated to have increased $27.1 billion, a downward revision of $12.6 billion. Contributions for government social insurance are now estimated to have increased $8.3 billion, a downward revision of $9.6 billion. With the incorporation of these new data, real gross domestic income is now estimated to have increased 3.6 percent in the fourth quarter, a downward revision of 1.2 percentage points from the previously published estimate.

*          *          *

Next release, June 27, 2024, at 8:30 a.m. EDT Gross Domestic Product (Third Estimate) Corporate Profits (Revised Estimate) Gross Domestic Product by Industry First Quarter 2024

Full Release & Tables (PDF)

Technical note (pdf), tables only (excel), release highlights (pdf), historical comparisons (pdf), key source data and assumptions (excel), revision information.

• GDP Lisa Mataloni  301-278-9083 [email protected]
• Corporate Profits Kate Pinard 301-278-9417 [email protected]
• Media Connie O’Connell 301-278-9003 [email protected]

Additional resources available at www.bea.gov :

• Stay informed about BEA developments by reading the BEA blog , signing up for BEA's email subscription service , or following BEA on X, formerly known as Twitter @BEA_News .
• Historical time series for these estimates can be accessed in BEA's interactive data application .
• Access BEA data by registering for BEA's data Application Programming Interface (API).
• For more on BEA's statistics, refer to our online journal, the Survey of Current Business .
• BEA's news release schedule
• NIPA Handbook : Concepts and Methods of the U.S. National Income and Product Accounts

Definitions

Gross domestic product (GDP), or value added , is the value of the goods and services produced by the nation's economy less the value of the goods and services used up in production. GDP is also equal to the sum of personal consumption expenditures, gross private domestic investment, net exports of goods and services, and government consumption expenditures and gross investment.

Gross domestic income (GDI) is the sum of incomes earned and costs incurred in the production of GDP. In national economic accounting, GDP and GDI are conceptually equal. In practice, GDP and GDI differ because they are constructed using largely independent source data.

Gross output is the value of the goods and services produced by the nation's economy. It is principally measured using industry sales or receipts, including sales to final users (GDP) and sales to other industries (intermediate inputs).

Current-dollar estimates are valued in the prices of the period when the transactions occurred—that is, at "market value." Also referred to as "nominal estimates" or as "current-price estimates."

Real values are inflation-adjusted estimates—that is, estimates that exclude the effects of price changes.

The gross domestic purchases price index measures the prices of final goods and services purchased by U.S. residents.

The personal consumption expenditure price index measures the prices paid for the goods and services purchased by, or on the behalf of, "persons."

Personal income is the income received by, or on behalf of, all persons from all sources: from participation as laborers in production, from owning a home or business, from the ownership of financial assets, and from government and business in the form of transfers. It includes income from domestic sources as well as the rest of world. It does not include realized or unrealized capital gains or losses.

Disposable personal income is the income available to persons for spending or saving. It is equal to personal income less personal current taxes.

Personal outlays is the sum of personal consumption expenditures, personal interest payments, and personal current transfer payments.

Personal saving is personal income less personal outlays and personal current taxes.

The personal saving rate is personal saving as a percentage of disposable personal income.

Profits from current production , referred to as corporate profits with inventory valuation adjustment (IVA) and capital consumption (CCAdj) adjustment in the National Income and Product Accounts (NIPAs), is a measure of the net income of corporations before deducting income taxes that is consistent with the value of goods and services measured in GDP. The IVA and CCAdj are adjustments that convert inventory withdrawals and depreciation of fixed assets reported on a tax-return, historical-cost basis to the current-cost economic measures used in the national income and product accounts. Profits for domestic industries reflect profits for all corporations located within the geographic borders of the United States. The rest-of-the-world (ROW) component of profits is measured as the difference between profits received from ROW and profits paid to ROW.

For more definitions, refer to the Glossary: National Income and Product Accounts .

Statistical conventions

Annual-vs-quarterly rates . Quarterly seasonally adjusted values are expressed at annual rates, unless otherwise specified. This convention is used for BEA's featured, seasonally adjusted measures to facilitate comparisons with related and historical data. For details, refer to the FAQ " Why does BEA publish estimates at annual rates? "

Quarterly not seasonally adjusted values are expressed only at quarterly rates.

Percent changes . Percent changes in quarterly seasonally adjusted series are displayed at annual rates, unless otherwise specified. For details, refer to the FAQ " How is average annual growth calculated? " and " Why does BEA publish percent changes in quarterly series at annual rates? " Percent changes in quarterly not seasonally adjusted values are calculated from the same quarter one year ago. All published percent changes are calculated from unrounded data.

Calendar years and quarters . Unless noted otherwise, annual and quarterly data are presented on a calendar basis.

Quantities and prices . Quantities, or "real" volume measures, and prices are expressed as index numbers with a specified reference year equal to 100 (currently 2017). Quantity and price indexes are calculated using a Fisher-chained weighted formula that incorporates weights from two adjacent periods (quarters for quarterly data and annuals for annual data). For details on the calculation of quantity and price indexes, refer to Chapter 4: Estimating Methods in the NIPA Handbook .

Chained-dollar values are calculated by multiplying the quantity index by the current dollar value in the reference year (2017) and then dividing by 100. Percent changes calculated from real quantity indexes and chained-dollar levels are conceptually the same; any differences are due to rounding. Chained-dollar values are not additive because the relative weights for a given period differ from those of the reference year. In tables that display chained-dollar values, a "residual" line shows the difference between the sum of detailed chained-dollar series and its corresponding aggregate.

BEA releases three vintages of the current quarterly estimate for GDP. "Advance" estimates are released near the end of the first month following the end of the quarter and are based on source data that are incomplete or subject to further revision by the source agency. "Second" and "third" estimates are released near the end of the second and third months, respectively, and are based on more detailed and more comprehensive data as they become available.

The table below shows the average revisions to the quarterly percent changes in real GDP between different estimate vintages, without regard to sign.

Annual and comprehensive updates are released in late September. Annual updates generally cover at least the five most recent calendar years (and their associated quarters) and incorporate newly available major annual source data as well as some changes in methods and definitions to improve the accounts. Comprehensive (or benchmark) updates are carried out at about 5-year intervals and incorporate major periodic source data, as well as major conceptual improvements.

Unlike GDP, advance current quarterly estimates of GDI and corporate profits are not released because data on domestic profits and net interest of domestic industries are not available. For fourth quarter estimates, these data are not available until the third estimate.

GDP by industry and gross output estimates are released with the third estimate of GDP.

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A Conversation with the Living: Louis Montrose and the New Historicism

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New Historicism has alerted critics to the complex conditions of literary production in the age of the printing press. The revisionist challenge presented by Jerome J. McGann to the concept of " the " writer as autonomous authority in the publication of a text has necessitated adjustments in the fields of textual scholarship and editing since the early 1980s. The present article delineates the theoretical parallels between New Historicism as a revisionist critical paradigm and “New Textualism” as its bibliographical counterpart. These approaches are distinguished from the purely analytic, noninterpretive idealistic premises of the earlier textual scholarship known as “New Bibliography.” New Textualist scholars have shifted attention from a disputable end product (an author’s “work”) to the genetic details in a range of material text witnesses, highlighting their dynamic “fluidity” and their “contamination” by social agents involved in the production process of the text, including typists, publishers, and editors. However, a few aspects of New Textualism create methodological aporias and produce, in extremo, a virtually unreadable compilation of parallel texts. Using some previously developed categories, this article offers an interpretive textual Analysis together with a genetic narrative of Sir Thomas More’s Utopia (1516). It demonstrates the extent of text variation caused by agents other than the author and in so doing presents evidence of a highly interactive textual practice in early modern publishing.

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This research is based on the exploration of Tade Ipadeola's The Sahara Testaments using new historicism. Since new historicism, as a literary theory, views literature from a historical and cultural contexts, it is a viable tool that sheds light on The Sahara Testaments as a surge into the historical past of the world—a quest to retell the story of the black race, a race whose history the world seems eager to forget, has under-taught; and whose present status is, as a result, undervalued. This project, therefore, dwells on the economic and social importance of the black race in the long course of history, as revealed in the primary text under study. What Ipadeola does in The Sahara Testaments is more than a description of the flora and fauna of the Sahara. He uses the Sahara as a metonymy, or if you like a synecdoche, for the whole of Africa, as he delves into recreating and reposition the true image and history of Africa which Europe and the rest of the West has bastardized in their supremacist quest for power and economic wealth. Ipadeola's a negrophilic invocation of history is clearly seen in poems such as " Our Hands, " " Sahara Sighs, " " A Great One, " and many others. In these poems, the persona expresses love for Africa as he recounts pre-colonial history, showing the relevance of the black race to the rest of the world.

Anita Singh

Theory and Praxis: Indian and Western Edited by R.N. Rai, M.S. Pandey and Anita Singh This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by R.N. Rai, M.S. Pandey, Anita Singh and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7123-0 ISBN (13): 978-1-4438-7123-5 CONTENTS Introduction ................................................................................................. 1 R.N. Rai Chapter One............................................................................................... 24 Reader Response Theory and the Concept of Sahrdaya G.B. Mohan Thampi Chapter Two .............................................................................................. 35 Psychoanalytical Frameworks in the Utopian Impulse Daniel T Baker Chapter Three ............................................................................................ 42 The Nation as Goddess: Ritualizing Politics, Politicizing the Sacral Namrata R. Mahanta and Banibrata Mahanta Chapter Four.............................................................................................. 53 Postcolonialism and Strategies of Narration in India Awanish Rai Chapter Five .............................................................................................. 61 Contemporary Theory in the Postcolonial Third World Jai Singh Chapter Six ................................................................................................ 71 Locating Edward Said’s Politics of Liberation in Orientalism Ravi Kumar Kumbar Chapter Seven............................................................................................ 80 Suppressed Histories, Racial Conflicts and Postcolonial Disorder in A Bend in the River Prakash Chandra Pradhan vi Contents Chapter Eight........................................................................................... 104 Rescripting the Dominant, Essentialist Narrative on the Splitting of India: Bapsi Sidhwa’s Ice Candy Man Nupur Palit Chapter Nine............................................................................................ 110 Bhagvadgita: A New Interpretation Damodar Thakur Chapter Ten ............................................................................................. 123 Androgyny and Postfeminism: Revisiting D. H. Lawrence Devender Kumar Chapter Eleven ........................................................................................ 140 Ecology and Feminism in India in Linda Hogan’s Power: An Ecofeminist Perspective R.D. Gholap Chapter Twelve ....................................................................................... 150 Exploring Animal Ethics in J.M. Coetzee’s The Lives of the Animals: A General Semantic Approach Dhriti Ray Dalai Chapter Thirteen...................................................................................... 160 Discourse of Otherness: Minority and Subaltern Perspectives in Rohinton Mistry’s A Fine Balance Chitra Trivikraman Nair Chapter Fourteen ..................................................................................... 171 Gopinath Mohanty’s Paraja: A Subaltern Study Bhagabat Nayak Chapter Fifteen ........................................................................................ 189 Re-reading Ramayana: Exploring Sita in Sita Sings the Blues Aarttee Kaul Dhar Contributors............................................................................................. 200 About the Editors..................................................................................... 202

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Nvidia, Powered by A.I. Boom, Reports Soaring Revenue and Profits

The Silicon Valley company was again lifted by sales of its artificial intelligence chips, but it faces growing competition and heightened expectations.

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By Don Clark

Reporting from San Francisco

Nvidia, which makes microchips that power most artificial intelligence applications, began an extraordinary run a year ago.

Fueled by an explosion of interest in A.I., the Silicon Valley company said last May that it expected its chip sales to go through the roof. They did — and the fervor didn’t stop, with Nvidia raising its revenue projections every few months. Its stock soared, driving the company to a more than $2 trillion market capitalization that makes it more valuable than Alphabet, the parent of Google.

On Wednesday, Nvidia again reported soaring revenue and profits that underscored how it remains a dominant winner of the A.I. boom, even as it grapples with outsize expectations and rising competition.

Revenue was $26 billion for the three months that ended in April, surpassing its $24 billion estimate in February and tripling sales from a year earlier for the third consecutive quarter. Net income surged sevenfold to $5.98 billion.

Nvidia also projected revenue of $28 billion for the current quarter, which ends in July, more than double the amount from a year ago and higher than Wall Street estimates.

“We are fundamentally changing how computing works and what computers can do,” Jensen Huang, Nvidia’s chief executive, said in a conference call with analysts. “The next industrial revolution has begun.”

Nvidia’s shares, which are up more than 90 percent this year, rose in after-hours trading after the results were released. The company also announced a 10-for-1 stock split.

Nvidia, which originally sold chips for rendering images in video games, has benefited after making an early, costly bet on adapting its graphics processing units, or GPUs, to take on other computing tasks. When A.I. researchers began using those chips more than a decade ago to accelerate tasks like recognizing objects in photos, Mr. Huang jumped on the opportunity. He augmented Nvidia’s chips for A.I. tasks and developed software to aid developments in the field.

The company’s flagship processor, the H100, has enjoyed feverish demand to power A.I. chatbots such as OpenAI’s ChatGPT. While most high-end standard processors cost a few thousand dollars, H100s have sold for anywhere from $15,000 to $40,000 each, depending on volume and other factors, analysts said.

Colette Kress, Nvidia’s chief financial officer, said on Wednesday that it had worked in recent months with more than 100 customers that were building new data centers — which Mr. Huang calls A.I. factories — ranging from hundreds to tens of thousands of GPUs, with some reaching 100,000. Tesla, for example, is using 35,000 H100 chips to help train models for autonomous driving, she said.

Nvidia will soon begin to ship a powerful successor to the H100, code-named Blackwell, which was announced in March. Demand for the new chips already appears to be strong, raising the possibility that some customers may wait for the speedier models rather than buy the H100. But there was little sign of such a pause in Nvidia’s latest results.

Ms. Kress said demand for Blackwell was well ahead of supply of the chip, and “we expect demand may exceed supply well into next year.” Mr. Huang added that the new chips should be operating in data centers late this year and that “we will see a lot of Blackwell revenue this year.”

The comments may ease fears of a slowdown in Nvidia’s momentum.

“Lingering concerns investors had in the short term regarding an ‘air bubble’ for GPU demand seem to have vanished,” Lucas Keh, an analyst at the research firm Third Bridge, said in an email.

Wall Street analysts are also looking for signs that some richly funded rivals could grab a noticeable share of Nvidia’s business. Microsoft, Meta, Google and Amazon have all developed their own chips that can be tailored for A.I. jobs, though they have also said they are boosting purchases of Nvidia chips.

Traditional rivals such as Advanced Micro Devices and Intel have also made optimistic predictions about their A.I. chips. AMD has said it expects to sell $4 billion worth of a new A.I. processor, the MI300, this year.

Mr. Huang frequently points to what he has said is a sustainable advantage: Only Nvidia’s GPUs are offered by all the major cloud services, such as Amazon Web Services and Microsoft Azure, so customers don’t have to worry about getting locked into using one of the services because of its exclusive chip technology.

Nvidia also remains popular among computer makers that have long used its chips in their systems. One is Dell Technologies, which on Monday hosted a Las Vegas event that featured an appearance by Mr. Huang.

Michael Dell, Dell’s chief executive and founder, said his company would offer new data center systems that packed 72 of the new Blackwell chips in a computer rack, standard structures that stand a bit taller than a refrigerator.

“Don’t seduce me with talk like that,” Mr. Huang joked. “That gets me superexcited.”

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