invoked in a chapter considering Manifest Destiny and the opening of the American West. Oddly lacking in this literary history is any sense of how US literary history itself was developing as a subject during this period (or even of History itself developing as a discipline). Yet the period under discussion here saw the first attempts to name a body of literature as distinctly American. The publication in 1829 of Samuel Knapp’s Lectures on American Literature is very much part of the exceptionalist national project that is Kennedy’s subject. The discussion of a national literary tradition reached a sort of conclusion in 1928, when the Modern Language Association published The Reinterpretation of American Literature, effectively setting the agenda for a generation of histories and anthologies. Furthermore, several of the issues that Kennedy addresses were dealt with directly in a series of literary histories during the nineteenth century. Whether or not to consider Irving an American writer, given his long residence in Europe and his use of European themes as his subjects, was still being discussed in literary histories as late as the 1890s. In his Prose Writers of America (1849), Rufus Griswold was reflecting on Irving when he wondered whether there ever could be an exclusive national literature, given that all literature crosses national borders. While it may not properly be the subject or in the remit of Strange Nation, it seems odd that this detailed and in some regards exhaustive overview of the period should overlook the developing literary history that touches so directly on many of its key concerns. There is no doubt, though, that its ambition and scope will ensure that Strange Nation becomes a keynote text, realigning as it does our sense of the importance of the period under discussion.

中文翻译：

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Holly Furneaux，有感情的军人：克里米亚战争中的情感、触觉和男子气概FurneauxHolly，有感情的军人：克里米亚战争中的情感、触觉和男子气概（牛津大学出版社，2016 年），第 x + 214 页，60.00 英镑

在考虑天启命运和美国西部开放的一章中引用。奇怪的是，这部文学史缺乏关于美国文学史本身在这一时期如何发展成为一门学科（甚至历史本身发展为一门学科）的任何意义。然而，这里所讨论的时期首次尝试将文学作品命名为明显的美国文学。塞缪尔·克纳普 (Samuel Knapp) 于 1829 年出版的《美国文学讲座》在很大程度上是肯尼迪主题的例外主义国家计划的一部分。对民族文学传统的讨论在 1928 年得出了某种结论，当时现代语言协会出版了《美国文学的重新解释》，有效地为一代历史和选集设定了议程。此外，肯尼迪谈到的几个问题在 19 世纪的一系列文学史中得到了直接处理。考虑到欧文在欧洲的长期居住和以欧洲主题为主题，是否将欧文视为美国作家，直到 1890 年代仍在文学史上讨论。在他的《美国散文作家》（1849 年）中，当鲁弗斯·格里斯沃尔德（Rufus Griswold）考虑到所有文学都跨越国界时，他想知道是否可能存在一种专属的民族文学时，他正在反思欧文。虽然它可能不是《奇异国家》的主题或职权范围，但对这一时期进行详细且在某些方面详尽的概述却忽略了发展中的文学史，这直接涉及其许多关键问题，这似乎很奇怪。不过毫无疑问，