A SCHOLARLY BOOK REPOSITORY564 start with R start with R
McGuire also uses this idea of pragmatic realism to mount a larger defense of contemporary realist writing and uses Ford’s example to argue that realism itself remains a useful and necessary critical category. Contemporary realism, rather than being merely conventional or reactionary, as some of its critics have called it, can offer its proponents an aesthetically and philosophically sophisticated way of engaging with and contesting the particularities of contemporary, even postmodern, experience.
In offering this new reading of Richard Ford’s fiction, as well as a fresh understanding of the realist impulse in contemporary American fiction, both become richer, more resonant, and more immediate—reaching both backward into the past and forward to involve themselves in important contemporary debates about history, postmodernity, and moral relativism.
Richard III will always be central to English disability history as both man and myth—a disabled medieval king made into a monster by his nation’s most important artist.
In Richard III’s Bodies from Medieval England to Modernity, Jeffrey Wilson tracks disability over 500 years, from Richard’s own manuscripts, early Tudor propaganda, and x-rays of sixteenth-century paintings through Shakespeare’s soliloquies, into Samuel Johnson’s editorial notes, the first play produced by an African American Theater company, Freudian psychoanalysis, and the rise of disability theater. For Wilson, the changing meanings of disability created through shifting perspectives in Shakespeare’s plays prefigure a series of modern attempts to understand Richard’s body in different disciplinary contexts—from history and philosophy to sociology and medicine.
While theorizing a role for Shakespeare in the field of disability history, Wilson reveals how Richard III has become an index for some of modernity’s central concerns—the tension between appearance and reality, the conflict between individual will and external forces of nature and culture, the possibility of upward social mobility, and social interaction between self and other, including questions of discrimination, prejudice, hatred, oppression, power, and justice.
Anderson provides the context from which Selzer’s writing grows and a concept of language adequate to his purposes and accomplishments. He takes a careful look at Selzer’s writing to demonstrate that these abstract considerations do tell us why a surgeon would write. The works Anderson examines are "Jonah and the Whale" (an important early short story) and the first three essays in Mortal Lessons. These examples show the reader exactly how the symbols of literature interact directly with the world and the everyday communications of both writer and reader. According to Anderson, Mortal Lessons is also Selzer’s most artistic statement of his own sense of why and how he became a writer.
Selzer’s books include Rituals of Surgery, Mortal Lessons, Confessions of a Knife, Letters to a Young Doctor, and Taking the World in for Repairs.
The first book-length study of Richard Wright (1908–1960) gives a critical, historical, and biographical perspective on the gifted African American writer. It presents Wright not only as an artist whose subjects and themes were affected by his race, but also as a sensitive and talented man who was deeply immersed in the major social and intellectual movements of his day.
Brigano discusses Wright’s artistry and his major public concerns as revealed in his novels, short stories, essays, and poetry: race relations in the United States, the role of Marxism in recent history and the future, the direction of international affairs, and the modes of modern personal and social philosophies.
Drawing on journals, letters, and eyewitness accounts, Richard Wright probes the author’s relationships with Langston Hughes and Ralph Ellison, his attraction to Communism, and his so-called exile in France. Skillfully interweaving quotes from Wright’s own writings, Rowley deftly portrays a passionate, courageous, and flawed man who would become one of our most enduring literary figures.
“Splendid. . . . Richard Wright is well written, prodigiously researched, and nicely paced, a compelling evocation of the man, his craft, and the different worlds through which he moved.”—Michael J. Ybarra, Wall Street Journal
“A welcome and illuminating work . . . [Rowley] does an outstanding job. . . . Rich and revealing.”—Megan Harlan, San Francisco Chronicle
“A magnificent biography, subtle and insightful. . . . Rowley writes with style and grace, and her research on Wright is prodigious.”—Howard Zinn, The Week
Because many scholars have approached the novel from naturalistic and existential perspectives, Joyce devotes her first chapter to a discussion of the novel's critical history. She compares previous criticism to her own perspective of the novel as tragedy, describing the features shared by each as well as their points of demarcation.
In the following chapters, Joyce explores the setting and structure of Native Son, its characterization and point of view, stylistic technique, and thematic unity. As she explores Wright's technique, she illuminates the ironies and interlocking relationships which embody the salient metaphors and images in the novel. In doing so, she illustrates how each detail of language composes the pattern that makes Native Son a tragedy.
In the same way that traditional critical readings of Native Son have impeded fresh insights into the novel, criticism based on biographical perspectives has resulted in numerous misconceptions about Wright's works. Richard Wright's Art of Tragedy rectifies these misconceptions by shifting the critical emphasis to the artistic vision and masterful crafting of Wright's major work. With this significant volume, students and teachers can discern the stylistic creativity that makes Native Son not only a tragedy but a work of art.
In a long and extraordinary career as captain, courier, privateer, real-estate agent, author, and informer, Barnaby Rich's principal achievement was the present volume—a collection of Elizabethan short stories despite its military title.
Unquestionably best sellers in Rich's own time, these tales continue to delight scholars, critics, and even casual readers today. One twentieth-century critic pronounces the Farewell "a landmark in Elizabethan short-story writing" and cites Rich's "romantic charm, gaiety and lightness of touch, good vivid dialogue, directness and ease." According to Henry Seidel Canby, Rich's "humor is of the gayest. . . . There is a suggestion of Chaucer about him, and not a little of the poet's merry humor." Yet the "stories themselves are diverse."
Certainly their charm and humor fetched Rich's contemporaries, who read out of existence all but one copy of the first edition and all but five of the subsequent three editions. Eight dramatists—including Shakespeare, Middleton, Shirley, and Marmion—immortalized several of the stories, however, by turning them into plays.
The present edition affords an opportunity to read Rich's tales in the form in which Elizabethans knew them. The text reproduced is that of the unique copy of the first edition, which appeared in 1581. The editor's scholarly, illuminating introduction and commentary display much of the liveliness, charm, and humor for which his subject was praised and in addition tell a great deal about the life and literature of that most fascinating of periods, the Age of Elizabeth I. Scholars will be especially interested in Cranfill's revelations of how an Elizabethan story maker operated, in the complex, checkered bibliographical history of the Farewell, and above all in the considerable use Shakespeare seems to have made of Rich's tales.
By weaving together the behind-the-scenes story of the library's formation and the stories between the covers of books on display, Wadsworth and Wiegand firmly situate the Woman's Building Library within the historical context of the 1890s. Interdisciplinary in approach, their book demonstrates how this landmark collection helped consolidate and institutionalize women's writing in conjunction with the burgeoning women's movement and the professionalization of librarianship in late nineteenth-century America.
Americans in this period debated a wide range of topics, including women's rights, gender identity, racial politics, nationalism, regionalism, imperialism, and modernity. These debates permeated the cultural climate of the Columbian Exposition. Wadsworth and Wiegand's book illuminates the range and complexity of American women's responses to these issues within a public sphere to which the Woman's Building provided unprecedented access.
Samuels demonstrates that Jewish difference has always been essential to the elaboration of French universalism, whether as its foil or as proof of its reach. He traces the development of this discourse through key moments in French history, from debates over granting Jews civil rights during the Revolution, through the Dreyfus Affair and Vichy, and up to the rise of a “new antisemitism” in recent years. By recovering the forgotten history of a more open, pluralistic form of French universalism, Samuels points toward new ways of moving beyond current ethnic and religious dilemmas and argues for a more inclusive view of what constitutes political discourse in France.
The Right to Difference examines novels that depict human rights violations in order to explore causes of intergroup violence within diverse societies, using Germany as a test case. In these texts, the book shows that an exaggeration of difference between minority and majority groups leads to violence. Germany has become increasingly diverse over the past decades due to skilled labor migration and refugee movements. In light of this diversity, this book’s approach transcends a divide between migrant and post-migrant German literature on the one hand and a national literature on the other hand. Addressing competing definitions of national identity as well as the contest between cultural homogeneity and diversity, the author redefines the term “intercultural literature.” It becomes not a synonym for authors who do not belong to a national literature, such as migrant writers, but a way of reading literature with an intercultural lens.
This book builds a theory of intercultural literature that focuses on the multifaceted nature of identity, in which ethnicity represents only one of many characteristics defining individuals. To develop intercultural competence, one needs to adopt a complex image of individuals that allows for commonalities and differences by complicating the notion of sharp contrasts between groups. Revealing the affective allegiances formed around other characteristics (gender, profession, personal motivations, relationships, and more) allows for similarities that grouping into large, homogeneous, and seemingly exclusive entities conceals. Eight novels analyzed in this book remember and reveal human rights violations, such as genocide, internment and torture, violent expulsion, the reasons for fleeing a country, dangerous flight routes and the difficulty of settling in a new country. Some of these novels allow for affective identification with diverse characters and cast the protagonists as individuals with plural perspectives and identities rather than monolithic members of one large national or ethnic group, whereas others emphasize the commonalities of all people.
Ultimately, the author makes the case for German Studies to contribute to an antiracist approach to diversity by redefining what it means to be German and establishing difference as a fundamental human right.
What India’s founders derived from Western political traditions as they struggled to free their country from colonial rule is widely understood. Less well-known is how India’s own rich knowledge traditions of two and a half thousand years influenced these men as they set about constructing a nation in the wake of the Raj. In Righteous Republic, Ananya Vajpeyi furnishes this missing account, a ground-breaking assessment of modern Indian political thought.
Taking five of the most important founding figures—Mohandas Gandhi, Rabindranath Tagore, Abanindranath Tagore, Jawaharlal Nehru, and B. R. Ambedkar—Vajpeyi looks at how each of them turned to classical texts in order to fashion an original sense of Indian selfhood. The diverse sources in which these leaders and thinkers immersed themselves included Buddhist literature, the Bhagavad Gita, Sanskrit poetry, the edicts of Emperor Ashoka, and the artistic and architectural achievements of the Mughal Empire. India’s founders went to these sources not to recuperate old philosophical frameworks but to invent new ones. In Righteous Republic, a portrait emerges of a group of innovative, synthetic, and cosmopolitan thinkers who succeeded in braiding together two Indian knowledge traditions, the one political and concerned with social questions, the other religious and oriented toward transcendence.
Within their vast intellectual, aesthetic, and moral inheritance, the founders searched for different aspects of the self that would allow India to come into its own as a modern nation-state. The new republic they envisaged would embody both India’s struggle for sovereignty and its quest for the self.
In a new interpretation of a poet who has swayed the course of modern poetry--in France and elsewhere--James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his identity and his art.
A drama emerges in Lawler's urbane and resourceful reading. The thinking, feeling, acting Drunken Boat is an early theatrical projection of the poet's self; the Inventor, the Memorialist, and the Ingénu assume distinct roles in his later verse. It is, however, in Illuminations and Une Saison en enfer that Rimbaud enacts most powerfully his grandiose dreams. Here the poet becomes Self Creator, Self-Critic, Self-Ironist; he takes the parts of Floodmaker, Oriental Storyteller, Dreamer, Lover; and he recounts his descent into Hell in the guise of a Confessor.
In delineating and exploring the poet's "theatre of the self" Lawler shows us the tragic lucidity and the dramatic coherence of Rimbaud's work.
Beginning with journalistic accounts of female criminals in the aftermath of the Meiji civil war, Treat moves on to explore how woman novelist Higuchi Ichiyō’s stories engaged with modern liberal economics, sex work, and marriage; credits Natsume Sōseki’s satire I Am a Cat with the triumph of print over orality in the early twentieth century; and links narcissism in the visual arts with that of the Japanese I-novel on the eve of the country’s turn to militarism in the 1930s. From imperialism to Americanization and the new media of television and manga, from boogie-woogie music to Yoshimoto Banana and Murakami Haruki, Treat traces the stories Japanese audiences expected literature to tell and those they did not. The book concludes with a classic of Japanese science fiction a description of present-day crises writers face in a Japan hobbled by a changing economy and unprecedented natural and manmade catastrophes. The Rise and Fall of Japanese Literature reinterprets the “end of literature”—a phrase heard often in Japan—as a clarion call to understand how literary culture worldwide now teeters on a historic precipice, one at which Japan’s writers may have arrived just a moment before the rest of us.
Calling it a major crisis in African literary criticism, Mukoma Wa Ngugi considers key questions around the misreading of African literature: Why did Chinua Achebe’s generation privilege African literature in English despite the early South African example? What are the costs of locating the start of Africa’s literary tradition in the wrong literary and historical period? What does it mean for the current generation of writers and scholars of African literature not to have an imaginative consciousness of their literary past?
This book will become a foundational text in African literary studies, as it raises questions about the very nature of African literature and criticism. It will be essential reading for scholars of African literary studies as well as general readers seeking a greater understanding of African literary history and the ways in which critical consensus can be manufactured and rewarded at the expense of a larger and historical literary tradition.
The little-known story of the sophisticated and vibrant Arabic book culture that flourished during the Middle Ages.
During the thirteenth century, Europe’s largest library owned fewer than 2,000 volumes. Libraries in the Arab world at the time had exponentially larger collections. Five libraries in Baghdad alone held between 200,000 and 1,000,000 books each, including multiple copies of standard works so that their many patrons could enjoy simultaneous access.
How did the Arabic codex become so popular during the Middle Ages, even as the well-established form languished in Europe? Beatrice Gruendler’s The Rise of the Arabic Book answers this question through in-depth stories of bookmakers and book collectors, stationers and librarians, scholars and poets of the ninth century.
The history of the book has been written with an outsize focus on Europe. The role books played in shaping the great literary cultures of the world beyond the West has been less known—until now. An internationally renowned expert in classical Arabic literature, Gruendler corrects this oversight and takes us into the rich literary milieu of early Arabic letters.
Cosmopolitan visions
Terry A. Cooney traces the evolution of the Partisan Review—often considered to be the most influential little magazine ever published in America—during its formative years, giving a lucid and dispassionate view of the magazine and its luminaries who played a leading role in shaping the public discourse of American intellectuals. Included are Lionel Trilling, Philip Rahv, William Phillips, Dwight Macdonald, F. W. Dupee, Mary McCarthy, Sidney Hook, Harold Rosenberg, and Delmore Schwartz, among others.
“An excellent book, which works at each level on which it operates. It succeeds as a straightforward narrative account of the Partisan Review in the 1930s and 1940s. The magazine’s leading voices—William Phillips, Philip Rahv, Dwight MacDonald, Lionel Trilling, and all the rest—receive their due. . . . Among the themes that engage Cooney. . . . are: how they dealt with ‘modernism’ in culture and radicalism in politics, each on its own and in combination; how Jewishness played a complex and fascinating role in many of the thinkers’ lives; and, especially, how ‘cosmopolitanism’ best explains what the Partisan Review was all about.”—Robert Booth Fowler, Journal of American History
Taking inspiration from the questions raised by the Bulletin’s synecdochical “nuclear,” Risk Criticism aims to generate a hybrid form of critical practice that brings “nuclear criticism” into conversation with ecocriticism. Through readings of novels, films, theater, poetry, visual art, websites, news reports, and essays, Risk Criticism tracks the diverse ways in which environmental risks are understood and represented today.
---David Shields, University of South Carolina
In Risky Writing, Jeffrey Berman builds on those earlier studies, describing ways teachers can encourage college students to write safely on a wide range of subjects often deemed too personal or too dangerous for the classroom: grieving the loss of a beloved relative or friend, falling into depression, coping with the breakup of one's family, confronting sexual abuse, depicting a drug or alcohol problem, encountering racial prejudice. Berman points out that nearly everyone has difficulty talking or writing about such issues because they arouse shame and tend to be enshrouded in secrecy and silence. This is especially true for college students, who are just emerging from adolescence and find themselves at institutions that rarely promote self-disclosure.
Recognizing the controversial nature of his subject, Berman confronts academic opposition to personal writing head on. He also discusses the similarities between the "writing cure" and the "talking cure," the role of the teacher and audience in the self-disclosing classroom, and the pedagogical strategies necessary to minimize risk, including the importance of empathy and other befriending skills.
The manuscript for Rivall Friendship was first acquired by the Newberry Library in 1937. At the time of the acquisition, the author of this seventeenth-century romance was anonymous. Scholar Jean R. Brink now suggests, based on dating of the manuscript and her analysis of its feminist themes, that the author was a woman. Specifically, Brink attributes the text to Bridget Manningham, who was the older sister of Thomas Manningham, a Jacobean and Caroline bishop, and the granddaughter of John Manningham, a diarist who recorded performances of Shakespeare’s plays.
Rivall Friendship is a post–English Civil War romance that examines proto-feminist issues, such as patriarchal dominance in the family and marriage. Manningham is scrupulous about maintaining verisimilitude, and unlike more fantastical romances of the period that feature monsters, giants, and magic, this text aspires to a level of probability in its historical and geographical details. The text of Rivall Friendship is accessible to most modern readers, particularly to students and scholars accustomed to working with seventeenth-century texts.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
In 1894, an eighteen-year-old Jack London quit his job shoveling coal, hopped a freight train, and left California on the first leg of a ten thousand-mile odyssey. His adventure was an exaggerated version of the unemployed migrations made by millions of boys, men, and a few women during the original "great depression of the 1890s. By taking to the road, young wayfarers like London forged a vast hobo subculture that was both a product of the new urban industrial order and a challenge to it. As London's experience suggests, this hobo world was born of equal parts desperation and fascination. "I went on 'The Road,'" he writes, "because I couldn't keep away from it . . . Because I was so made that I couldn't work all my life on 'one same shift'; because-well, just because it was easier to than not to."
The best stories that London told about his hoboing days can be found in The Road, a collection of nine essays with accompanying illustrations, most of which originally appeared in Cosmopolitan magazine between 1907 and 1908. His virile persona spoke to white middle-class readers who vicariously escaped their desk-bound lives and followed London down the hobo trail. The zest and humor of his tales, as Todd DePastino explains in his lucid introduction, often obscure their depth and complexity. The Road is as much a commentary on London's disillusionment with wealth, celebrity, and the literary marketplace as it is a picaresque memoir of his youth.
Hallock approaches literary study from the overlapping perspectives of pedagogue, scholar, unrepentant tourist, husband, father, friend, and son. Building on Ralph Waldo Emerson’s premise that there is “creative reading as well as creative writing,” Hallock turns to the vibrant and accessible tradition of American travel writing, employing the form of biblio-memoir to bridge the impasse between public and academic discourse and reintroduce the dynamic field of early American literature to wider audiences.
Hallock’s own road course begins and ends at the Lowcountry of Georgia and South Carolina, following a circular structure of reflection. He weaves his journey through a wide swath of American literatures and authors: from Native American and African American oral traditions, to Wheatley and Equiano, through Emerson, Poe, and Dickinson, among others. A series of longer, place-oriented narratives explore familiar and lesser-known literary works from the sixteenth-century invasion of Florida through the Mexican War of 1846–1848 and the American Civil War. Shorter chapters bridge the book’s central themes—the mapping of cognitive and physical space, our personal stake in reading, the tensions that follow earlier acts of erasure, and the impossibility of ever fully shutting out the past.
Exploring complex cultural histories and contemporary landscapes filled with ghosts and new voices, this volume draws inspiration from a tradition of travel, place-oriented, and literature-based works ranging from William Carlos Williams’s In the American Grain and Jack Kerouac’s On the Road to Alice Walker’s In Search of Our Mother’s Gardens, Wendy Lesser’s Why I Read: The Serious Pleasure of Books, and Rebecca Mead’s My Life in Middlemarch.
An accompanying bibliographic essay is periodically updated and available at Hallock’s website: www.roadcourse.us.
From the antiquity of Homer to yesterday's Naked Lunch, writers have found inspiration, and readers have lost themselves, in a world of the imagination tinged and oftentimes transformed by drugs. The age-old association of literature and drugs receives its first comprehensive treatment in this far-reaching work. Drawing on history, science, biography, literary analysis, and ethnography, Marcus Boon shows that the concept of drugs is fundamentally interdisciplinary, and reveals how different sets of connections between disciplines configure each drug's unique history.
In chapters on opiates, anesthetics, cannabis, stimulants, and psychedelics, Boon traces the history of the relationship between writers and specific drugs, and between these drugs and literary and philosophical traditions. With reference to the usual suspects from De Quincey to Freud to Irvine Welsh and with revelations about others such as Milton, Voltaire, Thoreau, and Sartre, The Road of Excess provides a novel and persuasive characterization of the "effects" of each class of drug--linking narcotic addiction to Gnostic spirituality, stimulant use to writing machines, anesthesia to transcendental philosophy, and psychedelics to the problem of the imaginary itself. Creating a vast network of texts, personalities, and chemicals, the book reveals the ways in which minute shifts among these elements have resulted in "drugs" and "literature" as we conceive of them today.
In The Road to Armageddon Cecil Eby shows how the widely admired writers of English popular fiction and poetry contributed, at least in England, to a romantic militarism coupled with xenophobia that helped create the climate that made World War I seem almost inevitable.
Between the close of the Franco-Prussian War of 1871 and the opening guns of 1914, the works of such widely read and admired writers as H. G. Wells, Rudyard Kipling, J. M. Barrie, and Rupert Brooke, as well as a host of now almost forgotten contemporaries, bombarded their avid readers with strident warnings of imminent invasions and prophecies of the collapse of civilization under barbarian onslaught and internal moral collapse.
Eby seems these narratives as growing from and in turn fueling a collective neurosis in which dread of coming war coexisted with an almost loving infatuation with it. The author presents a vivid panorama of a militant mileau in which warfare on a scale hitherto unimaginable was largely coaxed into being by works of literary imagination. The role of covert propaganda, concealed in seemingly harmless literary texts, is memorably illustrated.
Road-Book America discloses how the old picaresque tradition, embodied in such novels as Henry Fielding's Tom Jones and Daniel Defoe's Moll Flanders, opens to include a number of new American texts, both fiction and nonfiction, that decisively share the characterizing form. Sherrill's discussion encompasses hundreds of American narratives published in the past four decades, including such examples of the genre as William Least Heat-Moon's Blue Highways, John Steinbeck's Travels with Charley, James Leo Herlihy's Midnight Cowboy, Bill Moyers's Listening to America, and E. L. Doctorow's Billy Bathgate.
Sketching the socially marginal, ingenuous, traveling characters common to both old and new versions, Sherrill shows how the "new American picaresque" transforms the satirical aims of the original into an effort to map and catalog the immensity and variety of America.
Open, resilient, perennially hopeful, and endowed with a protean adaptability, the protagonist of the new American picaresque follows a therapeutic path for the alienated modern self. Mining the relevance of the reformulated picaresque for American life, Road-Book America shows how this old form, adaptable as the picaro himself, lays the groundwork for spiritual renewal and a restoration of cultural confidence in some old ways of being American.
Combining both intellectual history and detailed analysis of Frost's poems, Robert Faggen shows how Frost's reading of Darwin reflected the significance of science in American culture from Emerson and Thoreau, through James and pragmatism. He provides fresh and provocative readings of many of Frost's shorter lyrics and longer pastoral narratives as they illustrate the impact of Darwinian thought on the concept of nature, with particular exploration of man's relationship to other creatures, the conditions of human equality and racial conflict, the impact of gender and sexual differences, and the survival of religion.
The book shows that Frost was neither a pessimist lamenting the uncertainties of the Darwinian worldview, nor a humanist opposing its power. Faggen draws on Frost's unpublished notebooks to reveal a complex thinker who willingly engaged with the difficult moral and epistemological implications of natural science, and showed their consonance with myths and traditions stretching back to Milton, Lucretius, and the Old Testament. Frost emerges as a thinker for whom poetry was not only artistic expression, but also a forum for the trial of ideas and their impact on humanity.
Robert Frost and the Challenge of Darwin provides a deeper understanding not only of Frost and modern poetry, but of the meaning of Darwin in the modern world, the complex interrelations of literature and science, and the history of American thought.
"A forceful, appealing study of the Frost-Darwin relation, which has gone little noted by previous scholars, and a fresh explanation of Frost's ambivalent relation to modernism, which he scorned but also influenced" --William Howarth, Princeton University
Robert Faggen is Associate Professor of Literature, Claremont McKenna College and Adjunct Associate Professor, Claremont Graduate School.
This collection of essays by leading critics and poets charts Robert Hayden’s growing reputation as a major writer of some of the twentieth century’s most important poems on African-American themes, including the famed “Middle Passage” and “Frederick Douglass.” The essays illuminate the themes and techniques that established Hayden as a modernist writer with affinities to T. S. Eliot, Federico Garcia Lorca, and W. B. Yeats, as well as to traditions of African-American writings that include such figures as Countee Cullen and Langston Hughes.
Robert Hayden: Essays on the Poetryis the first and only book to collect significant essays on this distinguished poet. Covering sixty years of commentary, book reviews, essays, and Hayden’s own published materials, this volume is an invaluable contribution to our understanding of the poet’s vision of experience, artistry, and influence. The book includes forty different works that examine the life and poetry of Hayden, the first African-American to serve as Consultant in Poetry to the Library of Congress (the post now called Poet Laureate) and to receive the Grand Prix de la Poesie at the First World Festival of Negro Arts, Dakar, Senegal, in 1966.
This book sheds new light on the work of Robert Hayden (1913–80) in response to changing literary scholarship. While Hayden’s poetry often reflected aspects of the African American experience, he resisted attempts to categorize his poetry in racial terms. This fresh appreciation of Hayden’s work recontextualizes his achievements against the backdrop of the Black Arts Movement and traces his influence on contemporary African American poets. Placing Hayden at the heart of a history of African American poetry and culture spanning the Harlem Renaissance to the Hip-Hop era, the book explains why Hayden is now a canonical figure in 20th-century American literature.
In deep readings that focus on Hayden’s religiousness, class consciousness, and historical vision, author Derik Smith inverts earlier scholarly accounts that figure Hayden as an outsider at odds with the militancy of the Black Arts movement. Robert Hayden in Verse offers detailed descriptions of the poet’s vigorous contributions to 1960s discourse about art, modernity, and blackness to show that the poet was, in fact, an earnest participant in Black Arts-era political and aesthetic debates.
Robert Louis Stevenson: Writer of Boundaries reinstates Stevenson at the center of critical debate and demonstrates the sophistication of his writings and the present relevance of his kaleidoscopic achievements. While most young readers know Robert Louis Stevenson (1850–1894) as the author of Treasure Island, few people outside of academia are aware of the breadth of his literary output. The contributors to Robert Louis Stevenson: Writer of Boundaries look, with varied critical approaches, at the whole range of his literary production and unite to confer scholarly legitimacy on this enormously influential writer who has been neglected by critics.
As the editors point out in their Introduction, Stevenson reinvented the “personal essay” and the “walking tour essay,” in texts of ironic stylistic brilliance that broke completely with Victorian moralism. His first full-length work of fiction, Treasure Island, provocatively combined a popular genre (subverting its imperialist ideology) with a self-conscious literary approach.
Stevenson, one of Scotland’s most prolific writers, was very effectively excluded from the canon by his twentieth-century successors and rejected by Anglo-American Modernist writers and critics for his play with popular genres and for his non-serious metaliterary brilliance. While Stevenson’s critical recognition has been slowly increasing, there have been far fewer published single-volume studies of his works than those of his contemporaries, Henry James and Joseph Conrad.
Lowell's charismatic personality, compelling poetry, and literary fame attracted lovers and friends who were both frightened and excited by his aura of brilliance and danger. He loved the idea of falling in love, and in his recurring manic episodes he needed women at the center of his emotional and artistic life. Each affair became an intense dramatic episode. Though he idealized his loves and encouraged their talents, his frenetic affairs and tortured marriages were always conducted on his own terms. Robert Lowell in Love tells the story of the poet in the grip of love and gives voice to the women who loved him, inspired his poetry, and suffered along with him.
Here is a bold new vision of one of America’s most distinguished and controversial poets. Vereen Bell gives us a subtly reasoned account of the pattern of Robert Lowell’s poetic life, of his struggle to live in “the world as is.” Bell contends that Lowell’s poetry is characterized above all by its chronic and systematic pessimism, but that, paradoxically, Lowell’s reluctance to accept the consequences of his own unsparing vision is what gives his poetry its vigor, richness, and tonal complexity. The Lowell that is revealed is spiritually disconsolate but at the same time unable to suppress a deep-seated idealism.
Drawing on his thorough knowledge of the complete Lowell canon, Bell devotes particular attention to eight of the volumes, concentrating on the last phase of Lowell’s career, from Notebook (and its revision, History) through Day by Day. His readings bring a new understanding of Lowell’s art.
Toward the end of his career, Robert Penn Warren wrote, “It may be said that our lives are our own supreme fiction.” Although lauded for his writing in multiple genres, Warren never wrote an autobiography. Instead, he created his own “shadowy autobiography” in his poetry and prose, as well as his fiction and nonfiction. As one of the most thoughtful scholars on Robert Penn Warren and the literature of the South, Joseph Millichap builds on the accepted idea that Warren’s poetry and fiction became more autobiographical in his later years by demonstrating that that same progression is replicated in Warren’s literary criticism. This meticulously researched study reexamines in particular Warren’s later nonfiction in which autobiographical concerns come into play—that is, in those fraught with psychological crisis such as Democracy and Poetry.
Millichap reveals the interrelated literary genres of autobiography, criticism, and poetry as psychological modes encompassing the interplay of Warren’s life and work in his later nonfiction. He also shows how Warren’s critical engagement with major American authors often centered on the ways their creative work intersected with their lives, thus generating both autobiographical criticism and the working out of Warren’s own autobiography under these influences. Millichap’s latest book focuses on Warren’s critical responses to William Faulkner, John Crowe Ransom, Herman Melville, Nathaniel Hawthorne, John Greenleaf Whittier, and Theodore Dreiser. In addition, the author carefully considers the black and female writers Warren assessed more briefly in American Literature: The Makers and the Making.
Robert Penn Warren, Shadowy Autobiography, and Other Makers of American Literature presents the breadth of Millichap’s scholarship, the depth of his insight, and the maturity of his judgment, by giving us to understand that in his writing, Robert Penn Warren came to know his own vocation as a poet and critic—and as an American.
The Swiss writer Robert Walser (1878-1956) is now recognized as one of the most important European authors of the modernist period, having garnered high praise from such prominent voices as Susan Sontag, W. G. Sebald, and J. M. Coetzee. Robert Walser: A Companion is the first comprehensive guide to Walser’s work in English. The twelve essays in this collection examine Walser’s literary output, historical milieu, and idiosyncratic writing process, addressing aspects of his biography; discussing the various genres in which he wrote (the novel, short prose, drama, lyric poetry, and letters); and analyzing his best-known novels and short stories alongside lesser-known but no less fascinating poems, plays, and prose pieces.
An essential addition to the scholarship about this eccentric, prolific, and influential writer’s work, Robert Walser: A Companion will be of interest both to established scholars and to those coming to Walser for the first time.
Robinson Jeffers’ name has been so inseparably linked with California that it is difficult to think of his origins being elsewhere. Jeffers was both in 1887 in Pittsburgh, Pennsylvania. His father was a professor at Western Theological Seminary and a scholar of ancient languages who taught his son to read Greek before he started school. In 1902, Jeffers enrolled in the University of Western Pennsylvania, now the University of Pittsburgh, but his family moved to California soon thereafter, and he graduated from Occidental College at the age of eighteen.
Inhumanism was the label Jeffers first used in the preface to The Double Axe and Other Poems to explain the doctrine that permeates all of his poetry. Defining humanism as “a system of thinking in which man, his interests, and development, are made dominant, his addition of the negative prefix was his attempt to subdue human interests and development to something greater, contrasting them against the magnificent beauty and immense worth of the natural world.
In addition to discussing Jeffers’ life and philosophy, Monjian analyzes the form and style of his poetry, calling it “a singular style, slashing its way across the page with violence of image and a free, crashing rhythm.” She ends the book: “Whatever the future holds for this poet, our own age is still awed by the magnificent talent and effort of a burdened mind struggling to free humanity from the shackles of an impoverished self-love, and the myths to which he believes it gave birth.”
Since the end of the Second World War—and particularly over the last decade—Japanese science fiction has strongly influenced global popular culture. Unlike American and British science fiction, its most popular examples have been visual—from Gojira (Godzilla) and Astro Boy in the 1950s and 1960s to the anime masterpieces Akira and Ghost in the Shell of the 1980s and 1990s—while little attention has been paid to a vibrant tradition of prose science fiction in Japan.
Robot Ghosts and Wired Dreams remedies this neglect with a rich exploration of the genre that connects prose science fiction to contemporary anime. Bringing together Western scholars and leading Japanese critics, this groundbreaking work traces the beginnings, evolution, and future direction of science fiction in Japan, its major schools and authors, cultural origins and relationship to its Western counterparts, the role of the genre in the formation of Japan’s national and political identity, and its unique fan culture.
Covering a remarkable range of texts—from the 1930s fantastic detective fiction of Yumeno Kyûsaku to the cross-culturally produced and marketed film and video game franchise Final Fantasy—this book firmly establishes Japanese science fiction as a vital and exciting genre.
Contributors: Hiroki Azuma; Hiroko Chiba, DePauw U; Naoki Chiba; William O. Gardner, Swarthmore College; Mari Kotani; Livia Monnet, U of Montreal; Miri Nakamura, Stanford U; Susan Napier, Tufts U; Sharalyn Orbaugh, U of British Columbia; Tamaki Saitô; Thomas Schnellbächer, Berlin Free U.
Christopher Bolton is assistant professor of Japanese at Williams College.
Istvan Csicsery-Ronay Jr. is professor of English at DePauw University.
Takayuki Tatsumi is professor of English at Keio University.
Tracing the connections between human-like robots and AI at the site of dehumanization and exploited labor
The word robot—introduced in Karel Čapek’s 1920 play R.U.R.—derives from rabota, the Czech word for servitude or forced labor. A century later, the play’s dystopian themes of dehumanization and exploited labor are being played out in factories, workplaces, and battlefields. In The Robotic Imaginary, Jennifer Rhee traces the provocative and productive connections of contemporary robots in technology, film, art, and literature. Centered around the twinned processes of anthropomorphization and dehumanization, she analyzes the coevolution of cultural and technological robots and artificial intelligence, arguing that it is through the conceptualization of the human and, more important, the dehumanized that these multiple spheres affect and transform each other.
Drawing on the writings of Alan Turing, Sara Ahmed, and Arlie Russell Hochschild; such films and novels as Her and The Stepford Wives; technologies like Kismet (the pioneering “emotional robot”); and contemporary drone art, this book explores anthropomorphic paradigms in robot design and imagery in ways that often challenge the very grounds on which those paradigms operate in robotics labs and industry. From disembodied, conversational AI and its entanglement with care labor; embodied mobile robots as they intersect with domestic labor; emotional robots impacting affective labor; and armed military drones and artistic responses to drone warfare, The Robotic Imaginary ultimately reveals how the human is made knowable through the design of and discourse on humanoid robots that are, paradoxically, dehumanized.
Rocking the Boat is a celebration of strong, committed women who helped to build the American labor movement. Through the stories of eleven women from a wide range of backgrounds, we experience the turmoil, hardships, and accomplishments of thousands of other union women activists through the period spanning the Great Depression, the New Deal, World War II, the McCarthy era, the civil rights movement, and the women's movement. These women tell powerful stories that highlight and detail women's many roles as workers, trade unionists, and family members. They all faced difficulties in their personal lives, overcame challenges in their unions, and individually and collectively helped improve women's everyday working lives.
Maida Springer-Kemp came from New York City's Harlem, Local 22 of the International Ladies' Garment Workers' Union, to represent the AFL-CIO in Africa. In Chicago, Alice Peurala fought for her job in the steel mill and her place in the steel workers' union. Jessie De La Cruz organized farm workers in California. Esther Peterson, organizer, educator, and lobbyist, became an advisor to four U.S. presidents. In chapters based on oral history interviews, these women and others provide new perspectives and practical advice for today's working women. They share an idealistic and practical commitment to the labor movement. As Dorothy Haener of the United Auto Workers and a founding member of the National Organization of Women said, "You have to take a look at how to rock the boat. You don't want to spill yourself out if you can avoid it, but sometimes you have to rock the boat." From these women we, too, learn how to rock the boat.
Roger Zelazny combined poetic prose with fearless literary ambition to become one of the most influential science fiction writers of the 1960s. Yet many critics found his later novels underachieving and his turn to fantasy a disappointment. F. Brett Cox surveys the landscape of Zelazny's creative life and contradictions. Launched by the classic 1963 short story "A Rose for Ecclesiastes," Zelazny soon won the Hugo Award for Best Novel with …And Call Me Conrad and two years later won again for Lord of Light. Cox looks at the author's overnight success and follows Zelazny into a period of continued formal experimentation, the commercial triumph of the Amber sword and sorcery novels, and renewed acclaim for Hugo-winning novellas such as "Home Is the Hangman" and "24 Views of Mt. Fuji, by Hokusai." Throughout, Cox analyzes aspects of Zelazny's art, from his preference for poetically alienated protagonists to the ways his plots reflected his determined individualism.
Clear-eyed and detailed, Roger Zelazny provides an up-to-date reconsideration of an often-misunderstood SF maverick.
-Jonathan Dollimore, York University
"Rogues and Early Modern English Culture is an up-to-date and suggestive collection on a subject that all scholars of the early modern period have encountered but few have studied in the range and depth represented here."
-Lawrence Manley, Yale University
"A model of cross-disciplinary exchange, Rogues and Early Modern English Culture foregrounds the figure of the rogue in a nexus of early modern cultural inscriptions that reveals the provocation a seemingly marginal figure offers to authorities and various forms of authoritative understanding, then and now. The new and recent work gathered here is an exciting contribution to early modern studies, for both scholars and students."
-Alexandra W. Halasz, Dartmouth College
Rogues and Early Modern English Culture is a definitive collection of critical essays on the literary and cultural impact of the early modern rogue. Under various names-rogues, vagrants, molls, doxies, vagabonds, cony-catchers, masterless men, caterpillars of the commonwealth-this group of marginal figures, poor men and women with no clear social place or identity, exploded onto the scene in sixteenth-century English history and culture. Early modern representations of the rogue or moll in pamphlets, plays, poems, ballads, historical records, and the infamous Tudor Poor Laws treated these characters as harbingers of emerging social, economic, and cultural changes.
Images of the early modern rogue reflected historical developments but also created cultural icons for mobility, change, and social adaptation. The underclass rogue in many ways inverts the familiar image of the self-fashioned gentleman, traditionally seen as the literary focus and exemplar of the age, but the two characters have more in common than courtiers or humanists would have admitted. Both relied on linguistic prowess and social dexterity to manage their careers, whether exploiting the politics of privilege at court or surviving by their wits on urban streets.
Deftly edited by Craig Dionne and Steve Mentz, this anthology features essays from prominent and emerging critics in the field of Renaissance studies and promises to attract considerable attention from a broad range of readers and scholars in literary studies and social history.
An environmental humanist’s study of extractive capitalism and colonial occupation in Indian fiction.
Rogues in the Postcolony is a study of Anglophone Indian picaresque novels that dramatize the impacts of extractive capitalism and colonial occupation on local communities in several Indian states. In this materialist history of development on the subcontinent, Stacey Balkan considers works by Amitav Ghosh, Indra Sinha, and Aravind Adiga that critique violent campaigns of enclosure and dispossession at the hands of corporate entities like the English East India Company and its many legatees. By foregrounding the intersections among landscape ideology, agricultural improvement, extractive capitalism, and aesthetic expression, Rogues in the Postcolony also attends to the complicity of popular aesthetic forms with political and economic policy, as well as the colonial and extractivist logics that often frame discussions around the so-called Anthropocene epoch.
Bringing together questions about settler-colonial practices and environmental injustice, Rogues in the Postcolony concludes with an investigation of new extractivist frontiers, including solar capitalism, and considers the possibility of imagining life after extraction on the Indian subcontinent and beyond.
In his introduction, Arthur F. Kinney discusses the significance of these works as protonovels and their influence on such writers as Shakespeare. He also explores the social, political, and economic conditions of a time that spawned a community of renegades who conned their way to fame, fortune, and, occasionally, the rope at Tyburn.
early Christian and later European literature. Ninety-five entries
by leading scholars cover subjects such as sacrificial cults and rites
in pre-Roman Italy, Roman religion and its origins, the mythologies of
paganism, the survival of the ancient gods in the Middle Ages and the
Renaissance, gypsy myths and rituals, romanticism and myth in Blake,
Nerval, and Balzac, and myth in twentieth-century English literature.
Mythologies offers illuminating examples of the workings of
myth in the structure of societies past and present—how we create,
use, and are guided by systems of myth to answer fundamental questions
about ourselves and our world.
Many of the sections in Mythologies, originally published as a
two-volume cloth set, will soon be available in four paperback volumes
(two are announced here; two more are scheduled for 1993). These
volumes will reproduce the articles, introductory essays, and
illustrations as they appeared in the full Mythologies set.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman history for a Greek audience.
Dionysius of Halicarnassus was born before 53 BC and went to Italy before 29 BC. He taught rhetoric in Rome while studying the Latin language, collecting material for a history of Rome, and writing. His Roman Antiquities began to appear in 7 BC.
Dionysius states that his objects in writing history were to please lovers of noble deeds and to repay the benefits he had enjoyed in Rome. But he wrote also to reconcile Greeks to Roman rule. Of the twenty books of Roman Antiquities (from the earliest times to 264 BC) we have the first nine complete; most of Books 10 and 11; and later extracts and an epitome of the whole. Dionysius studied the best available literary sources (mainly annalistic and other historians) and possibly some public documents. His work and that of Livy are our only continuous and detailed independent narratives of early Roman history.
Dionysius was author also of essays on literature covering rhetoric, Greek oratory, Thucydides, and how to imitate the best models in literature.
The Loeb Classical Library publishes a two-volume edition of the critical essays; the edition of Roman Antiquities is in seven volumes.
Roman Cities provides the first comprehensive study in English of major Roman cities, including an excellent coverage of the Roman legacy which was transmitted to medieval and modern trends in architecture and urban planning..
Rome’s foreign wars, nation by nation.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Appian (Appianus) was a Greek official of Alexandria. He saw the Jewish rebellion of 116 CE, and later became a Roman citizen and advocate and received the rank of eques (knight). In his older years he held a procuratorship. He died during the reign of Antoninus Pius who was emperor 138161 CE. Honest admirer of the Roman empire though ignorant of the institutions of the earlier Roman republic, he wrote, in the simple 'common' dialect, 24 books of 'Roman affairs', in fact conquests, from the beginnings to the times of Trajan (emperor 98117 CE). Eleven have come down to us complete, or nearly so, namely those on the Spanish, Hannibalic, Punic, Illyrian, Syrian, and Mithridatic wars, and five books on the Civil Wars. They are valuable records of military history.
The Loeb Classical Library edition of Appian is in four volumes.
Rome’s foreign wars, nation by nation.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Appian (Appianus) was a Greek official of Alexandria. He saw the Jewish rebellion of 116 CE, and later became a Roman citizen and advocate and received the rank of eques (knight). In his older years he held a procuratorship. He died during the reign of Antoninus Pius who was emperor 138161 CE. Honest admirer of the Roman empire though ignorant of the institutions of the earlier Roman republic, he wrote, in the simple 'common' dialect, 24 books of 'Roman affairs', in fact conquests, from the beginnings to the times of Trajan (emperor 98117 CE). Eleven have come down to us complete, or nearly so, namely those on the Spanish, Hannibalic, Punic, Illyrian, Syrian, and Mithridatic wars, and five books on the Civil Wars. They are valuable records of military history.
The Loeb Classical Library edition of Appian is in four volumes.
Rome’s foreign wars, nation by nation.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Appian (Appianus) was a Greek official of Alexandria. He saw the Jewish rebellion of 116 CE, and later became a Roman citizen and advocate and received the rank of eques (knight). In his older years he held a procuratorship. He died during the reign of Antoninus Pius who was emperor 138161 CE. Honest admirer of the Roman empire though ignorant of the institutions of the earlier Roman republic, he wrote, in the simple 'common' dialect, 24 books of 'Roman affairs', in fact conquests, from the beginnings to the times of Trajan (emperor 98117 CE). Eleven have come down to us complete, or nearly so, namely those on the Spanish, Hannibalic, Punic, Illyrian, Syrian, and Mithridatic wars, and five books on the Civil Wars. They are valuable records of military history.
The Loeb Classical Library edition of Appian is in four volumes.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Rome’s internal conflicts, from the Gracchi to the Empire.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
Appian (Appianus) was a Greek official of Alexandria. He saw the Jewish rebellion of 116 CE, and later became a Roman citizen and advocate and received the rank of eques (knight). In his older years he held a procuratorship. He died during the reign of Antoninus Pius who was emperor 138–161 CE. Honest admirer of the Roman empire though ignorant of the institutions of the earlier Roman republic, he wrote, in the simple “common” dialect, 24 books of “Roman affairs,” in fact conquests, from the beginnings to the times of Trajan (emperor 98–117 CE). Eleven have come down to us complete, or nearly so, namely those on the Spanish, Hannibalic, Punic, Illyrian, Syrian, and Mithridatic wars, and five books on the Civil Wars. They are valuable records of military history.
The Loeb Classical Library edition of Appian is in four volumes.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Rome’s internal conflicts, from the Gracchi to the Empire.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Rome’s internal conflicts, from the Gracchi to the Empire.
Appian (Appianus) is among our principal sources for the history of the Roman Republic, particularly in the second and first centuries BC, and sometimes our only source, as for the Third Punic War and the destruction of Carthage. Born circa AD 95, Appian was an Alexandrian official at ease in the highest political and literary circles who later became a Roman citizen and advocate. He apparently received equestrian rank, for in his later years he was offered a procuratorship. He died during the reign of Antoninus Pius (emperor 138–161).
Appian’s theme is the process by which the Roman Empire achieved its contemporary prosperity, and his unique method is to trace in individual books the story of each nation’s wars with Rome up through her own civil wars. Although this triumph of “harmony and monarchy” was achieved through characteristic Roman virtues, Appian is unusually objective about Rome’s shortcomings along the way. His history is particularly strong on financial and economic matters, and on the operations of warfare and diplomacy.
Of the work’s original twenty-four books, only the Preface and Books 6–9 and 11–17 are preserved complete or nearly so: those on the Spanish, Hannibalic, African, Illyrian, Syrian, and Mithridatic wars, and five books on the civil wars.
This edition of Appian replaces the original Loeb edition by Horace White and adds the fragments, as well as his letter to Fronto.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
A sweeping chronicle from Aeneas to Alexander Severus.
Dio Cassius (Cassius Dio), circa AD 150–235, was born at Nicaea in Bithynia in Asia Minor. On the death of his father (Roman governor of Cilicia) he went in 180 to Rome, entered the Senate, and under the emperor Commodus was an advocate. He held high offices, becoming a close friend of several emperors; he was made governor of Pergamum and Smyrna; consul in 220; proconsul of Africa; governor of Dalmatia and then of Pannonia; and consul again in 229.
Of the eighty books of Dio's great work Roman History, covering the era from the legendary landing of Aeneas in Italy to the reign of Alexander Severus (AD 222–235), we possess Books 36–60 (36 and 55–60 have gaps), which cover the years 68 BC–AD 47. The missing portions are partly supplied, for the earlier gaps by Zonaras, who relies closely on Dio, and for some later gaps (Book 35 onwards) by John Xiphilinus (of the eleventh century). There are also many excerpts. The facilities for research afforded by Dio's official duties and his own industry make him a very vital source for Roman history of the last years of the republic and the first four emperors.
The Loeb Classical Library edition of Dio Cassius is in nine volumes.
Roman tragedies were written for over three hundred years, but only fragments remain of plays that predate the works of Seneca in the mid-first century C.E., making it difficult to define the role of tragedy in ancient Roman culture. Nevertheless, in this pioneering book, Mario Erasmo draws on all the available evidence to trace the evolution of Roman tragedy from the earliest tragedians to the dramatist Seneca and to explore the role played by Roman culture in shaping the perception of theatricality on and off the stage.
Performing a philological analysis of texts informed by semiotic theory and audience reception, Erasmo pursues two main questions in this study: how does Roman tragedy become metatragedy, and how did off-stage theatricality come to compete with the theatre? Working chronologically, he looks at how plays began to incorporate a rhetoricized reality on stage, thus pointing to their own theatricality. And he shows how this theatricality, in turn, came to permeate society, so that real events such as the assassination of Julius Caesar took on theatrical overtones, while Pompey's theatre opening and the lavish spectacles of the emperor Nero deliberately blurred the lines between reality and theatre. Tragedy eventually declined as a force in Roman culture, Erasmo suggests, because off-stage reality became so theatrical that on-stage tragedy could no longer compete.
Cohn argues that a full understanding of the contemporary romance requires an investigation of its literary and historical sources and analogues. Three principal sources are examined in the context of women's history in bourgeois society. Pride and Prejudice, Jane Erye, and Gone With the Wind demonstrate the development of romance fiction's themes, yet in all three the central love story is complicated by issues of property, the sign of male power. Jan Cohn further considers the development of the genre n the fictions of Harriet Lewis and May Agnes Fleming, prolific and popular American romance writers of the late nineteenth century who developed the role of the villain, thereby bringing into focus the sexual and economic struggles faced by the heroine.
Romance and the Erotics of Property sets romance fiction against a historic and literary background, arguing that contemporary romance disguises as tales of love the subversive fantasies of female appropriation and male property and power.
In the United States miscegenation is not merely a subject of literature and popular culture. It is in many ways the foundation of contemporary imaginary community. The Romance of Race examines the role of minority women writers and reformers in the creation of our modern American multiculturalism.
The national identity of the United States was transformed between 1880 and 1930 due to mass immigration, imperial expansion, the rise of Jim Crow, and the beginning of the suffrage movement. A generation of women writers and reformers—particularly women of color—contributed to these debates by imagining new national narratives that put minorities at the center of American identity. Jane Addams, Pauline Hopkins, Onoto Watanna (Winnifred Eaton), María Cristina Mena, and Mourning Dove (Christine Quintasket) embraced the images of the United States—and increasingly the world—as an interracial nuclear family. They also reframed public debates through narratives depicting interracial encounters as longstanding, unacknowledged liaisons between white men and racialized women that produced an incestuous, mixed-race nation.
By mobilizing the sexual taboos of incest and miscegenation, these women writers created political allegories of kinship and community. Through their criticisms of the nation’s history of exploitation and colonization, they also imagined a more inclusive future. As Jolie A. Sheffer identifies the contemporary template for American multiculturalism in the works of turn-of-the century minority writers, she uncovers a much more radical history than has previously been considered.
A leading historian argues that in the empire we know as Byzantium, the Greek-speaking population was actually Roman, and scholars have deliberately mislabeled their ethnicity for the past two centuries for political reasons.
Was there ever such a thing as Byzantium? Certainly no emperor ever called himself “Byzantine.” And while the identities of minorities in the eastern empire are clear—contemporaries speak of Slavs, Bulgarians, Armenians, Jews, and Muslims—that of the ruling majority remains obscured behind a name made up by later generations.
Historical evidence tells us unequivocally that Byzantium’s ethnic majority, no less than the ruler of Constantinople, would have identified as Roman. It was an identity so strong in the eastern empire that even the conquering Ottomans would eventually adopt it. But Western scholarship has a long tradition of denying the Romanness of Byzantium. In Romanland, Anthony Kaldellis investigates why and argues that it is time for the Romanness of these so-called Byzantines to be taken seriously.
In the Middle Ages, he explains, people of the eastern empire were labeled “Greeks,” and by the nineteenth century they were shorn of their distorted Greekness and became “Byzantine.” Only when we understand that the Greek-speaking population of Byzantium was actually Roman will we fully appreciate the nature of Roman ethnic identity. We will also better understand the processes of assimilation that led to the absorption of foreign and minority groups into the dominant ethnic group, the Romans who presided over the vast multiethnic empire of the east.
Recent scholarship in post-humanism, post-colonialism, disability studies, post-modern feminism, eco-criticism, and radical Orientalism has significantly affected the critical discourse on this topic. In engaging with the work and thought of Coleridge, Poe, Hoffmann, Mary Shelley, and other Romantic luminaries, the contributors to this collection open new methodological approaches to understanding human interaction with technology that strives to simulate, supplement, or supplant organic life.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
In Romantic Complexity, Jack Stillinger examines three of the most admired poets of English Romanticism--Keats, Coleridge, and Wordsworth--with a focus on the complexity that results from the multiple authorship, the multiple textual representation, and the multiple reading and interpretation of their best works.
Specific topics include the joint authorship of Wordsworth and Coleridge in the Lyrical Ballads, an experiment of 1798 that established the most essential characteristics of modern poetry; Coleridge's creation of eighteen or more different versions of The Ancient Mariner and how this textual multiplicity affects interpretation; the historical collaboration between Keats and his readers to produce fifty-nine separate but entirely legitimate readings of The Eve of St. Agnes; and a number of practical and theoretical matters bearing on the relationships among these writers and their influences on one another.
Stillinger shows his deep understanding of the poets' lives, works, and the history of their reception, in chapters rich with intriguing questions and answers sure to engage students and teachers of the world's greatest poetry.
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