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The heady system of high‐pressure Continental air that drifted across the Atlantic and collided with the traditional cyclonic patterns of U.S. literary academe in the mid‐1960s precipitated a “Theory Revolution” that has brought a couple of decades of stormy and stimulating weather to the campus. The collision has produced occasionally furious debate and resulted for higher education in the kind of public attention customarily reserved for athletic scandals; it has kept tenuring processes in turmoil and publish‐or‐perish mills working round the clock.

States that there has been a recent explosion in the publication of reference works in the field of African American studies which indicates the mature field of scholarship being achieved in this area. Provides a bibliographic guide for those wishing to identify and use research tools for studying African American literature.

The significance of literature in nation-building in two “second generation” nations, Germany and Norway, is discussed. In both countries a specific national literature was constituted parallel to the political institutions during the latter half of the 19th century. Yet there are clear differences in political effects in the two cases. In Norway, the struggle for national independence up to 1905 entailed a significant democratization of society. Germany, in the wake of the revolution of 1848, developed into a politically authoritarian regime, fully established under Prussian leadership in 1871.

These processes are mirrored in the position of literature. In Norway, where artistic traditions were absent, the national literature was a product of the 19th century, and emerged in close connection to ongoing political debates. In Germany, the Weimar heritage had gained classical status during the 1850s. Thus, the problem was foremost that of redefining the spiritual heritage to fit the history of the German Reich.

A related difference is found in the diffusion of literature through its most important channel – the school system. Norway developed a modern, uniform school, where the nation’s new literature was accorded a central place. In Germany, a more class-based school system was cemented, and the idea of diffusing the cultural heritage to the population at large held a weak position.

Along with these institutional factors, the development of national literatures in the two countries is seen in the light of regional specificities, constellations of literary genres with high and low prestige, and the social and political position of writers.

Points out that traditional conceptions of accounting history and its achievements are being challenged by new accounting historians who are informed by radical philosophies and approaches to history. Suggests that this is a belated reflection of movements within the wider discipline of history which can be traced to the annalists in the 1930s and more recently to the influence of postmodernism. Observes that at issue between the traditional and new history are the importance of facts and the pursuit of truth by traditional historians, noting that new accounting historians have decried the reactionary effects of traditional history, which they propose to overcome by substituting accounting as an interested discourse for accounting as a neutral, socially sterile technique. Explains that, as the conventional form of historical writing, the narrative form also has been disparaged. Concludes by arguing that accounting historians should be tolerant of different approaches to accounting history.

The US feminist art movement of the 1970s is examined through selected works written by artists, critics, and historians during the 1990s. Books, exhibition catalogues, dissertations, and articles place the movement within the broader contexts of art history and criticism, women’s history, and cultural studies. The art includes painting, drawing, collage, mixed‐media, graphics, installations, video, and performance. An increasing historical perspective allows scholars to examine the movement’s institutions and unresolved issues surrounding class, race, and sexual preference. Background is provided by an introductory essay, which summarizes the movement’s facets of protest, pedagogy, networks and professional associations, and art making while noting examples of publications and institutions that form part of the record of the movement. This article will be useful to librarians and scholars in art, women’s studies, history, sociology, and cultural studies.

Publishers are producing new reference sources on film at an astonishing rate. Each week reviews and advertisements appear to announce yet another book. Books vary in scope, subject emphasis, size, price, and of course, quality, and represent both new works and revised or added editions. Not only are American publishers active, but European firms are getting on the bandwagon, too.

This paper aims to reconsider the significance of Henry Ford’s claim that “History is more or less bunk”. It argues that this seemingly philistine remark can be understood as a specific historiographical position which informed Ford’s wider worldview, management approach and philosophy of industry.

The paper draws on primary philosophical works, secondary criticism and archival evidence. These sources detail the context in which the claim was made, the ideas underpinning its articulation and the conceptual basis on which Ford’s wider perspectives and contributions to historical experience can be interpreted.

This paper interprets Ford’s claim as a gesture of allegiance to a deeper cultural sensibility that was informed by Ralph Waldo Emerson’s transcendental view of history.

In addition to offering a rereading of Ford’s historiographical position, Emerson’s thought is discussed in relation to Ford’s subsequent “living history” project (Greenfield Village), which is considered the materialisation of his historical and industrial worldview.

This interpretation reveals how a specific historiographical position held by one of the twentieth century’s leading industrialists offers new insights into his wider worldview and philosophy of industry. It contributes to recent studies that challenge taken-for-granted narratives in management history and recent work that has highlighted the influence of transcendental principles on Ford’s philosophy of industry.

“Reference Serials” intends to provide in‐depth, evaluative reviews of abstracting services, indexes, serial bibliographies, yearbooks, directories, almanacs and other continuations which would normally be housed in reference collections. For the purposes of this column, reference serials are defined as materials which meet two rather flexible requirements: 1) they must be useful as reference sources, and 2) they must be issued as serials or be titles superseded periodically by new editions.

When the first edition of Poems by Emily Dickinson was published in 1890, Samuel G. Ward, a writer for the Dial, commented, “I am with all the world intensely interested in Emily Dickinson. She may become world famous or she may never get out of New England” (Sewall 1974, 26). A century after Emily Dickinson's death, all the world is intensely interested in the full nature of her poetic genius and her commanding presence in American literature. Indeed, if fame belonged to her she could not escape it (JL 265). She was concerned about becoming “great.” Fame intrigued her, but it did not consume her. She preferred “To earn it by disdaining it—”(JP 1427). Critics say that she sensed her genius but could never have envisioned the extent to which others would recognize it. She wrote, “Fame is a bee./It has a song—/It has a sting—/Ah, too, it has a wing” (JP 1763). On 7 May 1984 the names of Emily Dickinson and Walt Whitman were inscribed on stone tablets and set into the floor of the newly founded United States Poets' Corner of the Cathedral of St. John the Divine in New York City, “the first poets elected to this pantheon of American writers” (New York Times 1985). Celebrations in her honor draw a distinguished assemblage of international scholars, renowned authors and poets, biographers, critics, literary historians, and admirers‐at‐large. In May 1986 devoted followers came from places as distant as Germany, Poland, Scandinavia, and Japan to Washington, DC, to participate in the Folger Shakespeare Library's conference, “Emily Dickinson, Letter to the World.”

THE monumental History of Criticism by Professor Saintsbury, and Mr. Hall Caine's lighter series of studies would be sufficient to put anyone on their guard against accepting as final many of the critical decisions of the important literary reviews. Mr. Caine's book particularly is a revelation of error and spite such as makes one wonder that anonymous literary criticism should be received with toleration by bookmen.