Epic poets of the Renaissance looked to emulate the poems of Greco-Roman antiquity, but doing so presented a dilemma: what to do about the gods? Divine intervention plays a major part in the epics of Homer and Virgil—indeed, quarrels within the family of Olympian gods are essential to the narrative structure of those poems—yet poets of the Renaissance recognized that the cantankerous Olympians could not be imitated too closely. The divine action of their classical models had to be transformed to accord with contemporary tastes and Christian belief.
From Many Gods to One offers the first comparative study of poetic approaches to the problem of epic divine action. Through readings of Petrarch, Vida, Ariosto, Tasso, and Milton, Tobias Gregorydescribes the narrative and ideological consequences of the epic’s turn from pagan to Christian. Drawing on scholarship in several disciplines—religious studies, classics, history, and philosophy, as well as literature—From Many Gods to One sheds new light on two subjects of enduring importance in Renaissance studies: the precarious balance between classical literary models and Christian religious norms and the role of religion in drawing lines between allies and others.
Unique among readers in American political and social thought, From Many, One is a broad and balanced anthology that explores the problem of diversity and American political identity throughout American history. From the classic texts of the American political tradition to diverse minority writings, this book offers a wide spectrum of ideas about identity, gender, immigration, race, and religion, and addresses how these issues relate to the concept of national unity.
Covering the gamut of viewpoints from majority to minority, from conservative to radical, from assimilationist to separatist, the authors range from the Founding Fathers to Frederick Jackson Turner, from Abigail Adams to bell hooks and Catharine MacKinnon; from Abraham Lincoln to Malcolm X; from Roger Williams to Ralph E. Reed.
Sinopoli's extensive introductory and concluding essays set the context for and draw out the implications of the fifty readings. The conclusion includes case studies of three minority groups—homosexuals, Mexican-Americans, and Chinese-Americans—to illustrate further the themes of the volume. Brief introductions to each reading and to each of the five sections provide background information.
In examining one of the central questions of American public life—the issue of national diversity—From Many, One will be a useful text for courses in American political thought, sociology, American Studies, and American history.
Few subjects are as intensely debated in the United States as the death penalty. Some form of capital punishment has existed in America for hundreds of years, yet the justification for carrying out the ultimate sentence is a continuing source of controversy. No Winners Here Tonight explores the history of the death penalty and the question of its fairness through the experience of a single state, Ohio, which, despite its moderate midwestern values, has long had one of the country’s most active death chambers.
In 1958, just four states accounted for half of the forty-eight executions carried out nationwide, each with six: California, Georgia, Ohio, and Texas. By the first decade of the new century, Ohio was second only to Texas in the number of people put to death each year. No Winners Here Tonight looks at this trend and determines that capital punishment has been carried out in an uneven fashion from its earliest days, with outcomes based not on blind justice but on the color of a person’s skin, the whim of a local prosecutor, or the biases of the jury pool in the county in which a crime was committed.
Andrew Welsh-Huggins’s work is the only comprehensive study of the history of the death penalty in Ohio. His analysis concludes that the current law, crafted by lawmakers to punish the worst of the state’s killers, doesn’t come close to its intended purpose and instead varies widely in its implementation. Welsh-Huggins takes on this controversial topic evenhandedly and with respect for the humanity of the accused and the victim alike. This exploration of the law of capital punishment and its application will appeal to students of criminal justice as well as those with an interest in law and public policy.
From the ratification of the Constitution to the outbreak of the Civil War, few persons played a greater role in American history than Daniel Webster. He was a spokesman of New England commercial interests in the War of 1812, approving the threat of state interposition by the Hartford Convention; later an apostle of the industrial system and advocate of protective tariffs; a brilliant expositor of the Constitution as an instrument for national economic growth and strong central government; the architect of a foreign policy that brought permanent peace between the United States and England; the Great Compromiser who, as much as any other public man, tried to reconcile the clashing interests of North and South.
Despite his importance Webster has never been the subject of a full-scale, scholarly biography. Maurice G. Baxter’s One and Inseparable traces the interrelated evolution of the public career and the private life of this imposing and controversial Yankee. He portrays Webster as an unswerving patriot, an advocate of nationality, and a champion of peace and the Union—but also reveals him as a self-promoting politician who varied his positions to suit the interests of his constituents and was sometimes insensitive to the great moral issues of his day. This devoted family man, enterprising if not altogether successful farmer, and genial companion could he egotistical, immoderate in his drinking habits, and careless about personal finances. Reading Baxter’s lucid, moving biography it is possible to understand why Ralph Waldo Emerson so detested Daniel Webster but also called him “the completest man” produced by America, adding: “Nature had not in our days, or not since Napoleon, cut out such a masterpiece.”
E pluribus unum no longer holds. Out of the many have come as many claims and grievances, all at war with the idea of one nation undivided. The damage thus done to our national life, as too few Americans seek a common good, is Martin Marty's concern. His book is an urgent call for repair and a personal testament toward resolution.
A world-renowned authority on religion and ethics in America, Marty gives a judicious account (itself a rarity and a relief in our day of uncivil discourse) of how the body politic has been torn between the imperative of one people, one voice, and the separate urgings of distinct identities--racial, ethnic, religious, gendered, ideological, economic. Foreseeing an utter deadlock in public life, with devastating consequences, if this continues, he envisions steps we might take to carry America past the new turbulence.
While the grand story of oneness eludes us (and probably always will), Marty reminds us that we do have a rich, ever-growing, and ever more inclusive repertory of myths, symbols, histories, and, most of all, stories on which to draw. He pictures these stories, with their diverse interpretations, as part of a conversation that crosses the boundaries of groups. Where argument polarizes and deafens, conversation is open ended, guided by questions, allowing for inventiveness, fair play, and dignity for all. It serves as a medium in Marty's broader vision, which replaces the restrictive, difficult, and perhaps unattainable ideal of "community" with the looser, more workable idea of "association."
An "association of associations" is what Marty contemplates, and for the spirit and will to promote it he looks to eighteenth-century motifs of sentiment and affection, convergences of intellect and emotion that develop from shared experience. And as this book so eloquently reminds us, America, however diverse, is an experience we all share.
King Lear exists in two different texts: the Quarto (1608) and the Folio (1623). Because each supplies passages missing in the other, for over 200 years editors combined the two to form a single text, the basis for all modern productions. Then in the 1980s a group of influential scholars argued that the two texts represent different versions of King Lear, that Shakespeare revised his play in light of theatrical performance. The two-text theory has since hardened into orthodoxy. Now for the first time in a book-length argument, one of the world’s most eminent Shakespeare scholars challenges the two-text theory. At stake is the way Shakespeare’s greatest play is read and performed.
Sir Brian Vickers demonstrates that the cuts in the Quarto were in fact carried out by the printer because he had underestimated the amount of paper he would need. Paper was an expensive commodity in the early modern period, and printers counted the number of lines or words in a manuscript before ordering their supply. As for the Folio, whereas the revisionists claim that Shakespeare cut the text in order to alter the balance between characters, Vickers sees no evidence of his agency. These cuts were likely made by the theater company to speed up the action. Vickers includes responses to the revisionist theory made by leading literary scholars, who show that the Folio cuts damage the play’s moral and emotional structure and are impracticable on the stage.
In 1991, Mark Osteen and his wife, Leslie, were struggling to understand why their son, Cameron, was so different from other kids. At age one, Cam had little interest in toys and was surprisingly fixated on books. He didn’t make baby sounds; he ignored other children. As he grew older, he failed to grasp language, remaining unresponsive even when his parents called his name. When Cam started having screaming anxiety attacks, Mark and Leslie began to grasp that Cam was developmentally delayed. But when Leslie raised the possibility of an autism diagnosis, Mark balked. Autism is so rare, he thought. Might as well worry about being struck by lightning.
Since that time, awareness of autism has grown monumentally. Autism has received extensive coverage in the news media, and it has become a popular subject for film, television, and literature, but the disorder is frequently portrayed and perceived as a set of eccentricities that can be corrected with proper treatment. In reality, autism permanently wrecks many children’s chances for typical lives. Plenty of recent bestsellers have described the hardships of autism, but those memoirs usually focus on the recovery of people who overcome some or all of the challenges of the disorder. And while that plot is uplifting, it’s rare in real life, as few autistic children fully recover. The territory of severe autism—of the child who is debilitated by the condition, who will never be cured—has been largely neglected. One of Us: A Family’s Life with Autism tells that story.
In this book, Mark Osteen chronicles the experience of raising Cam, whose autism causes him aggression, insomnia, compulsions, and physical sickness. In a powerful, deeply personal narrative, Osteen recounts the struggles he and his wife endured in diagnosing, treating, and understanding Cam’s disability, following the family through the years of medical difficulties and emotional wrangling. One of Us thrusts the reader into the life of a child who exists in his own world and describes the immense hardships faced by those who love and care for him. Leslie and Mark's marriage is sorely tested by their son's condition, and the book follows their progress from denial to acceptance while they fight to save their own relationship.
By embracing the little victories of their life with Cam and by learning to love him as he is, Mark takes the reader down a road just as gratifying, and perhaps more moving, than one to recovery. One of Us is not a book about a child who overcomes autism. Instead, it’s the story of a different but equally rare sort of victory—the triumph of love over tremendous adversity.
Must children born with socially challenging anatomies have their bodies changed because others cannot be expected to change their minds? One of Us views conjoined twinning and other “abnormalities” from the point of view of people living with such anatomies, and considers these issues within the larger historical context of anatomical politics.
Anatomy matters, Alice Domurat Dreger tells us, because the senses we possess, the muscles we control, and the resources we require to keep our bodies alive limit and guide what we experience in any given context. Her deeply thought-provoking and compassionate work exposes the breadth and depth of that context—the extent of the social frame upon which we construct the “normal.” In doing so, the book calls into question assumptions about anatomy and normality, and transforms our understanding of how we are all intricately and inextricably joined.
One-on-one encounters with writers often contribute more to the development of student writing abilities than any classroom activity because they are personalized and responsive to individual needs. For the encounters to be successful, the writing tutor, teacher, or consultant must be prepared, must be knowledgeable of what it means to write and the factors that make writing more and less effective, and must also know the students.
This guide focuses on what those who conference with second language writers need to know to respond best to students, recognize their needs, and steer conversations in productive directions. One on One with Second Language Writers provides tips about activities that can be adapted to individual contexts, student writing samples that can be analyzed for practice, a glossary, a list of useful resources, and a checklist for conferencing sessions.
The book is appropriate for use in university and secondary school writing or learning centers, teacher training programs for both general composition and ESOL instructors, and as an individual reference tool. The book uses non-technical language where possible, but terminology is introduced where it might be useful when conferencing with students.
Named a Notable Book for 2005 by the American Library Association, One with Nineveh is a fresh synthesis of the major issues of our time, now brought up to date with an afterword for the paperback edition. Through lucid explanations, telling anecdotes, and incisive analysis, the book spotlights the three elephants in our global living room-rising consumption, still-growing world population, and unchecked political and economic inequity-that together are increasingly shaping today's politics and humankind's future. One with Nineveh brilliantly puts today's political and environmental debates in a larger context and offers some bold proposals for improving our future prospect.
In Trace of One,real geographies merge with spiritual ones, just as details of the speaker’s physical and emotional worlds intertwine with the transcendent realms of science, religion, and myth. Joanna Goodman’s poems share a sense of spatial and temporal displacement—they are love poems to a place, whether it be a field, a room, or a paradise—they celebrate their subjects, but they are also poems of grief and solitude. The poems resonate with ethereal echoes paradoxically emitted by an increasingly demystified world in which mechanical explanations for the workings of the human mind and body bump up against the mystery and obliqueness of the soul.
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