Le titre est, bien entendu, inspiré par Althusser (“Lire Le Capital”) – mais de façon polémique. Par “lire Marx” j'entends lire Marx et non pas Engels, Mao, Gramsci, Lukács, Marcuse, Althusser et ainsi de suite. En d'autres termes : le but de ce cours est, avant tout, de délibérément désintriquer la pensée de Marx de la pensée marxiste. Une polémique avec certains marxistes sera ainsi menée en sous-main, par des allusions ponctuelles. Un tel programme véhicule trois implications majeures : Qu'il y a effectivement une différence de pensée entre Marx et le marxisme. Ce premier point sera établi à travers une lecture philosophique de Marx : l'hypothèse étant que ce qui se trouve de plus original dans Marx, ce n'est ni sa pensée politique, ni sa pensée sociologique ou économique, mais bien sa charpente philosophique. Cette charpente philosophique détermine et situe ses autres théories. La seconde implication, c'est qu'un clivage entre Marx et les marxistes existe comme tel, qu'il peut être défini par certaines caractéristiques générales, et que ces caractéristiques générales différent de la pensée originale de Marx ou la restreignent. Il s'agit là d'un sujet passablement complexe, voire compliqué ; mais on peut résumer ce clivage en disant que le marxisme

a surtout retenu de Marx les éléments utiles à l'action politique dans une situation donnée, urgente. Une théorie de la “praxis révolutionnaire” a donc pris la place de la philosophie. La troisième implication est la précompréhension qui préside à l'approche du texte. Un texte est quelque chose d'imprimé : il représente comme tel un objet clos, constitué, fini. Mais nous n'en obtiendrons de réponses décisives que si nous le soumettons à des questions décisives. Et la question décisive que soulèvent les marxistes, c'est l'urgence d'une situation révolutionnaire (qu'elle existe de fait ou doive être réalisée). Leur question est donc généralement homothétique à celle de Lénine : “Que faire ?” C'est la question de ceux qu'Althusser appelle les “intellectuels militants” (pour Marx 24), et qui participent directement aux luttes de la classe ouvrière. Une telle “ lecture” de Marx est stratégique. Or, je tiens que la lecture stratégique ne peut que rester aveugle, de par sa nature même, au questionnement philosophique. Notre précompréhension des textes de Marx n'a, par conséquent, rien de stratégique ; elle est bien plutôt qu'ils proposent une réponse à la plus ancienne question de la philosophie occidentale : ti to on, savoir : qu'est-ce que l'être ? ou : qu'est-ce que la réalité, ainsi que son corollaire : qu'est-ce que la vérité ? Donc : Marx versus marxisme ; le concept de “praxis” comme étant le concept différenciant Marx du marxisme ; une double théorie des textes. Développons plus avant ces trois points

The first listed species to make headlines after the Endangered Species Act was passed in 1973 was the snail darter, a three-inch fish that stood in the way of a massive dam on the Little Tennessee River. When the Supreme Court sided with the darter, Congress changed the rules. The dam was built, the river stopped flowing, and the snail darter went extinct on the Little Tennessee, though it survived in other waterways. A young Al Gore voted for the dam; freshman congressman Newt Gingrich voted for the fish.

A lot has changed since the 1970s, and Joe Roman helps us understand why we should all be happy that this sweeping law is alive and well today. More than a general history of endangered species protection, Listed is a tale of threatened species in the wild—from the whooping crane and North Atlantic right whale to the purple bankclimber, a freshwater mussel tangled up in a water war with Atlanta—and the people working to save them.

Employing methods from the new field of ecological economics, Roman challenges the widely held belief that protecting biodiversity is too costly. And with engaging directness, he explains how preserving biodiversity can help economies and communities thrive. Above all, he shows why the extinction of species matters to us personally—to our health and safety, our prosperity, and our joy in nature.

They’ve been listening for longer than you think. A new history reveals how—and why.

Wiretapping is nearly as old as electronic communications. Telegraph operators intercepted enemy messages during the Civil War. Law enforcement agencies were listening to private telephone calls as early as 1895. Communications firms have assisted government eavesdropping programs since the early twentieth century—and they have spied on their own customers too. Such breaches of privacy once provoked outrage, but today most Americans have resigned themselves to constant electronic monitoring. How did we get from there to here?

In The Listeners, Brian Hochman shows how the wiretap evolved from a specialized intelligence-gathering tool to a mundane fact of life. He explores the origins of wiretapping in military campaigns and criminal confidence games and tracks the use of telephone taps in the US government’s wars on alcohol, communism, terrorism, and crime. While high-profile eavesdropping scandals fueled public debates about national security, crime control, and the rights and liberties of individuals, wiretapping became a routine surveillance tactic for private businesses and police agencies alike.

From wayward lovers to foreign spies, from private detectives to public officials, and from the silver screen to the Supreme Court, The Listeners traces the long and surprising history of wiretapping and electronic eavesdropping in the United States. Along the way, Brian Hochman considers how earlier generations of Americans confronted threats to privacy that now seem more urgent than ever.

Reader-friendly and revealing, Listening to Bob Dylan encourages hardcore fans and Dylan-curious seekers alike to rediscover the music legend.

This tale of great achievements and great disappointments offers a fresh perspective on the interplay between scholarship and political sentiment in the late nineteenth and early twentieth centuries.

Lazăr Șăineanu (1859-1934), linguist and folklorist, was a pioneer in his native Romania, seeking out the popular elements in culture along with high literary ones. He was among the first to publish a study of Yiddish as a genuine language, and he uncovered Turkish features in Romanian language and customs. He also made an index of hundreds of Romanian folktales. Yet when he sought Romanian citizenship and a professorship, he was blocked by powerful figures who thought Jews could not be Romanians and who fancied the origins of Romanian culture to be wholly Latin. Faced with anti-Semitism, some of his friends turned to Zionism. Instead he tried baptism, which brought him only mockery and shame.

Hoping to find a polity to which he could belong, Șăineanu moved with his family to Paris in 1900 and became Lazare Sainéan. There he made innovative studies of French popular speech and slang, culminating in his great work on the language of Rabelais. Once again, he was contributing to the development of a national tongue. Even then, while welcomed by literary scholars, Sainéan was unable to get a permanent university post. Though a naturalized citizen of France, he felt himself a foreigner, an “intruder,” into his old age.

In 1933, John A. Lomax and his son Alan set out as emissaries for the Library of Congress to record the folksong of the “American Negro” in several southern African-American prisons. Listening to the Lomax Archive: The Sonic Rhetorics of African American Folksong in the 1930s asks how the Lomaxes’ field recordings—including their prison recordings and a long-form oral history of jazz musician Jelly Roll Morton—contributed to a new mythology of Americana for a nation in the midst of financial, social, and identity crises. Jonathan W. Stone argues that folksongs communicate complex historical experiences in a seemingly simple package, and can thus be a key element—a sonic rhetoric—for interpreting the ebb and flow of cultural ideals within contemporary historical moments. He contends that the Lomaxes, aware of the power folk music, used the folksongs they collected to increase national understanding of and agency for the subjects of their recordings (including the reconstitution of prevailing stereotypes about African American identity) even as they used the recordings to advance their own careers. Listening to the Lomax Archive gives readers the opportunity to listen in on these seemingly contradictory dualities, demonstrating that they are crucial to the ways that we remember and write about the subjects of the Lomaxes archive and other repositories of historicized sound.

Historians and readers alike often overlook the everyday experiences of workers. Drawing on years of interviews and archival research, Daniel J. Clark presents the rich, interesting, and sometimes confounding lives of men and women who worked in Detroit-area automotive plants in the 1950s.

In their own words, the interviewees frankly discuss personal matters like divorce and poverty alongside recollections of childhood and first jobs, marriage and working women, church and hobbies, and support systems and workplace dangers. Their frequent struggles with unstable jobs and economic insecurity upend notions of the 1950s as a golden age of prosperity while stories of domestic violence and infidelity open a door to intimate aspects of their lives. Taken together, the narratives offer seldom-seen accounts of autoworkers as complex and multidimensional human beings.

Compelling and surprising, Listening to Workers foregoes the union-focused strain of labor history to provide ground-level snapshots of a blue-collar world.

Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries.

Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women’s playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.

This compelling collection advocates for an alternative view of deaf people’s literacy, one that emphasizes recent shifts in Deaf cultural identity rather than a student’s past educational context as determined by the dominant hearing society. Divided into two parts, the book opens with four chapters by leading scholars Tom Humphries, Claire Ramsey, Susan Burch, and volume editor Brenda Jo Brueggemann. These scholars use diverse disciplines to reveal how schools where deaf children are taught are the product of ideologies about teaching, about how deaf children learn, and about the relationship of ASL and English.

Part Two features works by Elizabeth Engen and Trygg Engen; Tane Akamatsu and Ester Cole; Lillian Buffalo Tompkins; Sherman Wilcox and BoMee Corwin; and Kathleen M. Wood. The five chapters contributed by these noteworthy researchers offer various views on multicultural and bilingual literacy instruction for deaf students. Subjects range from a study of literacy in Norway, where Norwegian Sign Language recently became the first language of instruction for deaf pupils, to the difficulties faced by deaf immigrant and refugee children who confront institutional and cultural clashes. Other topics include the experiences of deaf adults who became bilingual in ASL and English, and the interaction of the pathological versus the cultural view of deafness. The final study examines literacy among Deaf college undergraduates as a way of determining how the current social institution of literacy translates for Deaf adults and how literacy can be extended to deaf people beyond the age of 20.

In the modern world, success depends upon literacy, a fact especially true for deaf children who, if they read and write well, can take full advantage of e-mail, the Internet, and other communication innovations. Literacy and Your Deaf Child: What Every Parent Should Know provides parents with the means to ensure that their deaf or hard of hearing child becomes a proficient reader and writer. In nine chapters, parents will learn about the relationship of language to reading and writing, including the associated terminology, the challenges that deaf children face, and the role of schools. They’ll also learn activities that they can engage in at home that will strengthen their children’s reading and writing capabilities.

Literacy and Your Deaf Child begins by introducing some common concepts, among them the importance of parental involvement in a deaf child’s education. It outlines how children acquire language and describes the auditory and visual links to literacy. With this information, parents can make informed decisions regarding hearing aids, cochlear implants, speechreading, and sign communication, all of which can have a marked influence on their child’s language development. Parents will discover how to create environments at home and in their community for fostering their child’s literacy, especially in school by learning how to work closely with their child’s teachers. The book also refers throughout to the developmental link between American Sign Language and English literacy for children who use sign communication, making it the best guide available for all deaf children and their parents.

Winner, 2022 Society of Midland Authors award for Biography/Memoir

Evan S. Connell (1924–2013) emerged from the American Midwest determined to become a writer. He eventually made his mark with attention-getting fiction and deep explorations into history. His linked novels Mrs. Bridge (1959) and Mr. Bridge (1969) paint a devastating portrait of the lives of a prosperous suburban family not unlike his own that, more than a half century later, continue to haunt readers with their minimalist elegance and muted satire. As an essayist and historian, Connell produced a wide range of work, including a sumptuous body of travel writing, a bestselling epic account of Custer at the Little Bighorn, and a singular series of meditations on history and the human tragedy.
 
This first portrait and appraisal of an under-recognized American writer is based on personal accounts by friends, relatives, writers, and others who knew him; extensive correspondence in library archives; and insightful literary and cultural analysis of Connell’s work and its context. It also illuminates aspects of American publishing, Hollywood, male anxieties, and the power of place.

Virgil, Horace, Catullus, Propertius—these are just a few of the poets whose work we would be without today were it not for the wealthy and powerful patrons upon whose support the Roman cultural establishment so greatly depended. Who were these patrons? What benefits did they give, to whom, and why? What effect did the support of such men as Maecenas and Pompey have on the lives and work of those who looked to them for aid?

These questions and others are addressed in this volume, which explores all the important aspects of patronage—a topic crucial to the study of literature and art from Homer to the present day. The subject is approached from various vantage points: literary, artistic, historical. The essayists reach conclusions that dispel the many misconceptions about Roman patronage derived from seventeenth- and eighteenth-century models in England and Europe.

An understanding of the workings of patronage is indispensable in helping us see how the Roman cultural establishment functioned in the four centuries of its flourishing and also in helping us read and enjoy specific poems and works of art. A book for all concerned with classical literature, art, and social history, Literary and Artistic Patronage in Ancient Rome not only deepens our understanding of the ancient world but also suggests important avenues for future exploration.

In the nineteenth century, the Cuban economy rested on the twin pillars of sugar and slaves. Slavery was abolished in 1886, but, one hundred years later, Cuban authors were still writing antislavery narratives. William Luis explores this seeming paradox in his groundbreaking study Literary Bondage, asking why this literary genre has remained a viable means of expression.

Applying Foucault's theory of counter-discourse to a vast body of antislavery literature, Luis shows how these narratives have always served to undermine the foundations of slavery, to protest the marginalized status of blacks in Cuban society, and to rewrite the canon of "acceptable" history and literature. He finds that emancipation did not end the need for such counter-discourse and reveals how the antislavery narrative continues to provide a forum for voices that have been silenced by the dominant culture.

In addition to such well-known works as Cecilia Valdés, The Kingdom of This World, and The Autobiography of a Runaway Slave, Luis draws on many literary works outside the familiar canon, including Romualdo, uno de tantos, Aponte, SofíaLa familia Unzúazu, El negrero, and Los guerrilleros negros. This comprehensive coverage raises important questions about the process of canon-formation and brings to light Cuba's rich heritage of Afro-Latin literature and culture.

This innovative collection challenges the traditional focus on solitary genius by examining the rich diversity of literary couplings and collaborations from the early modern to the postmodern period. Literary Couplings explores some of the best-known literary partnerships—from the Sidneys to Boswell and Johnson to Sylvia Plath and Ted Hughes—and also includes lesser-known collaborators such as Daphne Marlatt and Betsy Warland. The essays place famous authors such as Samuel Coleridge, Oscar Wilde, and William Butler Yeats in new contexts; reassess overlooked members of writing partnerships; and throw new light on texts that have been marginalized due to their collaborative nature. By integrating historical studies with authorship theory, Literary Couplings goes beyond static notions of the writing "couple" to explore literary couplings created by readers, critics, historians, and publishers as well as by writers themselves, thus expanding our understanding of authorship.

Literary Criticism offers a concise overview of literary studies in the English-speaking world from the early twentieth century to the present. Joseph North steps back from the usual tangle of figures, schools, and movements in order to analyze the intellectual paradigms that underpinned them. The result is a radically new account of the discipline’s development, together with a trenchant argument about where its political future lies.

People in today’s literature departments often assume that their work is politically progressive, especially when compared with the work of early- and mid-twentieth-century critics. North’s view is less cheering. For when understood in relation to the longer arc of the discipline, the current historicist and contextualist mode in literary studies represents a step to the Right. Since the global turn to neoliberalism in the late 1970s, all the major movements within literary studies have been diagnostic rather than interventionist in character: scholars have developed sophisticated techniques for analyzing culture, but they have retreated from systematic attempts to transform it. In this respect, the political potential of current literary scholarship compares poorly with that of earlier critical modes, which, for all their faults, at least had a programmatic commitment to cultural change.

Yet neoliberalism is now in crisis—a crisis that presents opportunities as well as dangers. North argues that the creation of a genuinely interventionist criticism is one of the central tasks facing those on the Left of the discipline today.

All of American author Frank Norris’s significant critical writings have been compiled in this book, including his articles for the San Francisco Wave during 1896–1897 and selections from his “Weekly Letter” column for the Chicago American in 1901. Essays from these two previously unexploited sources, comprising almost half the book, reveal certain areas of Norris’s thought which heretofore had been overlooked by scholars.

This book was compiled in order to clarify Frank Norris’s literary creed. When Donald Pizer began to read Norris’s uncollected critical articles, he observed concepts which had been unnoted or misunderstood by his critics. Crediting this to the inadequate representation of Norris’s ideas in the posthumous The Responsibilities of the Novelist (1903), Pizer recognized the need for an interpretive and complete edition of Norris’s critical writings. This volume thus fills a noticeable gap in the field of American literary criticism.

By the time of his death in 1902 Norris had a closed system of critical ideas. This core of ideas, however, is only peripherally related to the conventional concept of literary naturalism, which perhaps explains why critics have gone astray trying to find Zolaesque ideas in Norris’s criticism. Norris’s central idea, around which he built an aesthetic of the novel, was that the best novel combines an intensely primitivistic subject matter and theme with a highly sophisticated form. His paradox of sophisticated primitivism clarifies the vital link between the fiction produced in the 1890s and that written by Hemingway, Faulkner, and Steinbeck.

Norris’s essays deal with many of the literary themes which preoccupy modern critical theorists. His range of subjects includes the form and function of the novel; definitions of naturalism, realism, and romanticism; and the problem of what constitutes an American novel. His interpretation of commonplace events, his comments on prominent figures of his day, and his parodies of writers such as Bret Harte, Stephen Crane, and Rudyard Kipling are characterized by ingenuity and perception. Through these writings the personality of a man with well-defined convictions and the ability to expound them provocatively comes into sharp focus.

In a general introduction Pizer summarizes Norris’s critical position and surveys his career as literary critic. This introduction and the interpretative introductions preceding each section constitute an illuminating essay on the literary temper of the period and provide a new insight into Norris’ craft and his literary philosophy.

Disease—real or imagined, physical or mental—is a common theme in Western literature and is often a symbol of modern alienation. In Literary Diseases, a comprehensive analysis of the metaphorical and symbolic force of disease in modern Italian literature, Gian-Paolo Biasin expands the geography of the discussion of this important theme. Using as a backdrop the perspective of European experiences of the previous hundred years, Biasin analyzes the theme of disease as a reflection of certain sociological and historical phenomena in modern European novels, as a metaphor for the world visions of selected Italian novelists, and especially as a vehicle for understanding the nature and function of fiction itself.

The core of Biasin’s study is found in his discussion of the works of four major Italian writers. In his criticism of the novels of Giovanni Verga, who stood at the center of many complex developments in the nineteenth century, he examines the antecedents of modern Italian prose. He then scrutinizes the works of Italo Svevo and Luigi Pirandello, who together inaugurated the modern novel in Italy. Of particular interest is his exploration of their critical use of psychoanalysis and madness climaxed by apocalyptic visions. He then discusses the prose of Carlo Emilio Gadda, which epitomizes the problems of the avant-garde in its experimentalism and expressionism.

Biasin utilizes a broad spectrum of critical approaches—from sociology, psychoanalysis, and different trends in modern French, American, and Italian literary criticism—in shaping his own methodology, which is a thematic and structural symbolism. He concludes that disease in literature should be considered as a metaphor for writing (écriture) and as a cognitive instrument that calls into question the anthropocentric values of Western culture. The book, with its textual comparisons and unusual supporting examples, constitutes a significant methodological contribution as well as a major survey of modern Italian prose, and will allow the reader to see traditional landmarks in European fiction in a new light.

In modern China, literature has been regarded as a vehicle of political and idea logical dissent, a concept that has persisted under communism. This study exhaustively analyzes the conflict between the Chinese Communist party and the intellectuals, particularly the writers, in the crucial decades of the 1940's and 1950's.

By singling out individual writers as egregious examples, party leaders, through a series of thought-control campaigns, have tried to mold intellectuals along orthodox doctrinal lines. But these same leaders, holding to the paradoxical conviction that personal initiative and creativity are necessary catalysts in the effort to construct a Communist state, have not wanted to stifle these qualities altogether. The result has been a pattern of permissiveness and pressure, as illustrated by the ill-fated "Hundred Flowers" movement and the subsequent return to a policy of harsh regimentation.

In depicting the views, feelings, frustrations, and tragic fates of many individual intellectuals in the confrontation with an oppressive party bureaucracy, the author reveals, in an unprecedented way, the nature of the authoritarian society that has evolved in Communist China. Her study convincingly demonstrates that totalitarian rule has not guaranteed the subservience of the Chinese intelligentsia and, even more important, that the alienated, critical intellectual remains a significant and vital force.

Inscribed some time after 264 BCE, the Parian Marble offers a chronological list of events with an exceptional emphasis on literary matters. Literary History in the Parian Marble explores the literary and historiographical qualities of the inscription, the genre to which it belongs, and the emerging patterns of time. Endorsing the hypothesis that the inscription was originally displayed at a Parian shrine honoring Archilochus, Andrea Rotstein argues that literary history was one of its main concerns. Though it may be conventional in its focus on the chronology of poets, their inventions and victories, the Parian Marble is nonetheless idiosyncratic in the range of authors displayed. By reconstructing the methods by which information might have been obtained, Rotstein contributes to an understanding of the way literary history was practiced within the local communities of ancient Greece, away from the major Hellenistic centers of scholarship.

The Parian chronicle has not been the subject of a comprehensive study for almost a century. Literary History in the Parian Marble brings to the English-speaking audience up-to-date information about the inscription, including a revision of Felix Jacoby’s Greek text and a complete translation.

Is there such a thing as a specifically literary discourse, distinguishable from other modes of thought and writing? Is there any way to defend the intuition that a work of literature says something that can't be said in any other way? Drawing on recent work in the philosophies of language and action, Steven Knapp presents a challenging new definition of “the literary” in a forceful analysis that will radically change the sometimes heated debate about formalism.

Formalist theorists have maintained that the uniqueness of the literary lies in the special nature of literary language. Their critics argue that to draw sharp distinctions between literary and nonliterary language is to privilege one kind of text and to insulate cultural activity from social conflict and political change. In the course of a rigorous engagement with such literary theorists, old and new, Knapp develops a provocative defense of the notion of a uniquely literary mode of discourse—a defense that challenges proponents as well as critics of formalism. He extends and deepens current debates about the literary canon, the purpose of literary study, and the aims and implications of the recent critical return to history. His bold and surprising argument has significance for the ethical and political role of literary studies that no one interested in literary theory or the philosophy of art will be able to ignore. Literary Interest will engage theorists, literary critics in all fields, and philosophers addressing issues of aesthetics and language.

Jurij Striedter provides a dynamic introduction to and critique of Russian Formalism and Czech Structuralism. He makes clear the pathbreaking contribution of these European schools to modern literary theory and criticism, placing them in their contemporary contexts and at the same time relating them to ongoing debates in America.

Striedter gives an authoritative account of the development of Russian Formalism from its birth around 1915 through its forced end in the late 1920s, focusing on the contributions of Roman Jakobson, Mikhail Bakhtin, and others to the theory and analysis of literary history, literary genres and narrative prose. He compares the concepts of the literary work, literature as system, and literary evolution in both Russian Formalism and Czech Structuralism to show how these early formalistic approaches led to an elaborated structuralist and semiotic concept of literature as a historically changing system correlated to society and cultural change. He sets forth the work of Jan Mukarovsky and Felix Vodicka, whose Czech Structuralist theory of literary evolution and literary reception (or reader response) anticipated much recent theorizing.

Finally, Striedter brings these ideas into play by showing how they can contribute to the debate of the last few years in North America and Europe about the key issue of literary evaluation. This book and the theories it discusses challenge our contemporary understanding of literature, its history, and its functions in society and human life.

“This is splendid historical writing…Darnton [has] a well-justified reputation as one of the most original contributors to our understanding of life in pre-revolutionary Paris.” —New York Review of Books

Robert Darnton introduces us to the shadowy world of pirate publishers, garret scribblers, under-the-cloak book peddlers, smugglers, and police spies that composed the literary underground of the Enlightenment.

Here are the ambitious writers who crowded into Paris seeking fame and fortune within the Republic of Letters, but who instead sank into the miserable world of Grub Street—victims of a closed world of protection and privilege. Venting their frustrations in an illicit literature of vitriolic pamphlets, libelles, and chroniques scandaleuses, these “Rousseaus of the gutter” desecrated everything sacred in the social order of the Old Regime. Here too are the workers who printed their writings and the clandestine booksellers who distributed them.

While censorship, a monopolistic guild, and the police contained the visible publishing industry within the limits of official orthodoxies, a prolific literary underworld disseminated a vast illegal literature that conveyed a seditious ideology to readers everywhere in France. Covering their traces in order to survive, the creators of this eighteenth-century counterculture have virtually disappeared from history. By drawing on an ingenious selection of previously hidden sources, such as police ledgers and publishers’ records, Robert Darnton reveals for the first time the fascinating story of that forgotten underworld.

The activities of the underground bear on a broad range of issues in history and literature, and they directly concern the problem of uncovering the ideological origins of the French Revolution. This engaging book illuminates those issues and provides a fresh view of publishing history that will inform and delight the general reader.

A product of the cathedral schools that played a foundational role in the so-called Twelfth-Century Renaissance, Alan of Lille was renowned for the vast learning which earned him the title of Doctor Universalis. His writings include many significant contributions to the development of systematic theology, but he was also the most important Latin poet of his time, the great age of Medieval Latin poetry. The works included in this volume aim to give imaginative expression to the main tenets of Alan’s theology, but the forms in which his vision is embodied are strikingly original and informed by a rich awareness of poetic tradition.

The “Sermon on the Intelligible Sphere” translates Platonist cosmology into the terms of a visionary psychology. In the Boethian dialogue of the De planctu Naturae the goddess Nature inveighs against sodomy and “unnatural” behavior generally. The Anticlaudianus, viewed as virtually a classic in its own day, is at once a summa of the scholastic achievement of the Twelfth-Century schools and an allegory of spiritual pilgrimage that anticipates the Divine Comedy.

The Literati Purges explores the phenomenon of the political purge in early Yi Dynasty Korea. Four such upheavals occurring within a fifty-year span are known in Korean historiography by the term sahwa, literati purge; the first three of these events, occurring in 1498, 1504, and 1519, are the subject of this study.

The author's original aim was to narrate in full detail the background, development, and consequences of each purge, focusing on those issues and events that best reveal the political institutions and processes as they actually operated in early Yi Korea. But as the study proceeded it became clear that the story of the literati purges was, above all, the history of the development of the remonstrance or censorial function in the Yi state and the conflict among the administrative organs of the government that accompanied this development. In short, although The Literati Purges focuses on events, it is at the same time an institutional study.

In a new approach to interdisciplinary literary theory, Literature, Analytically Speaking integrates literary studies with analytic aesthetics, girded by neo-Darwinian evolution. Scrutinizing narrative fiction through a lens provided by analytic philosophy, revered literary theorist Peter Swirski puts new life into literary theory while fashioning a set of practical guidelines for critics in the interpretive trenches.

Dismissing critical inquirers who deny intention its key role in the study of literary reception, Swirski extends the defense of intentionality to art and to human behavior in general. In the process, Swirski takes stock of the recent work in evolutionary theory, arguing that the analysis of narrative truth may be grounded in the neo-Darwinian paradigm which forms the empirical backbone behind his analytic approach. Literature, Analytically Speaking provides a series of precepts designed to capture the ways in which we do interpret (and ought to interpret) works of literature. Reflecting a resounding shift from the poststructuralist paradigm, Swirski's lively and colorful presentation, backed up by a dazzling variety of examples and case studies, reconceptualizes the aesthetics of literature and literary studies.

“This book began in what seemed like a counterfactual intuition . . . that what had been happening in Nicaraguan poetry was essential to the victory of the Nicaraguan Revolution,” write John Beverley and Marc Zimmerman. “In our own postmodern North American culture, we are long past thinking of literature as mattering much at all in the ‘real’ world, so how could this be?” This study sets out to answer that question by showing how literature has been an agent of the revolutionary process in Nicaragua, El Salvador, and Guatemala.

The book begins by discussing theory about the relationship between literature, ideology, and politics, and charts the development of a regional system of political poetry beginning in the late nineteenth century and culminating in late twentieth-century writers. In this context, Ernesto Cardenal of Nicaragua, Roque Dalton of El Salvador, and Otto René Castillo of Guatemala are among the poets who receive detailed attention.

Can reading social protest novels actually produce a more just world? Literature and Social Justice offers a scientifically informed, evidence-based affirmative answer to that crucial question, arguing that literature has the potential—albeit largely unrealized—to produce lasting, socially transformative psychological changes in readers. Moving beyond traditional social criticism in its various forms, including feminist, gender, queer, and postcolonialist approaches, Mark Bracher uses new knowledge concerning the cognitive structures and processes that constitute the psychological roots of social injustice to develop a detailed, systematic critical strategy that he calls “schema criticism,” which can be applied to literature and other discourses to maximize and extend their potential for promoting social justice.

Bracher draws on studies in social cognition, social neuroscience, evolutionary psychology, political psychology, and psychoanalysis to uncover the root cognitive structures that cause misunderstandings among people and give rise to social injustice. Using the novels The Jungle, The Grapes of Wrath, and Native Son, he then demonstrates how schema criticism can correct these faulty cognitive structures and enable readers to develop more accurate and empathetic views of those they deem “Other,” as well as become more aware of their own cognitive processes. Calling the book “insightful, erudite, and humane,” Cognitive Approaches to Literature and Culture Series coeditor Patrick Colm Hogan says, “This inspiring book should be welcomed by literary critics, political activists, and anyone who cares about social justice.”

The period between the World Wars was one of the richest and most inventive in the long history of British literature. Interwar literature, David Trotter argues, stood apart by virtue of the sheer intelligence of the enquiries it undertook into the technological mediation of experience. After around 1925, literary works began to portray communication by telephone, television, radio, and sound cinema—and to examine the sorts of behavior made possible for the first time by virtual interaction. And they filled up, too, with the look, sound, smell, taste, and feel of the new synthetic and semi-synthetic materials that were reshaping everyday modern life.

New media and new materials gave writers a fresh opportunity to reimagine both how lives might be lived and how literature might be written. Today, Trotter observes, such material and immaterial mediations have become even more decisive. Communications technology is an attitude before it is a machine or a set of codes. It is an idea about the prosthetic enhancement of our capacity to communicate. The writers who first woke up to this fact were not postwar, postmodern, or post-anything else: some of the best of them lived and wrote in the British Isles in the period between the World Wars. In defining what they achieved, this book creates a new literary canon of works distinguished formally and thematically by their alertness to the implications of new media and new materials.

The literary archive of the U.S.-Mexican War (1846–1848) opens to view the conflicts and relationships across one of the most contested borders in the Americas. Most studies of this literature focus on the war's nineteenth-century moment of national expansion. In The Literatures of the U.S.-Mexican War, Jaime Javier Rodríguez brings the discussion forward to our own moment by charting a new path into the legacies of a military conflict embedded in the cultural cores of both nations.

Rodríguez's groundbreaking study moves beyond the terms of Manifest Destiny to ask a fundamental question: How do the war's literary expressions shape contemporary tensions and exchanges among Anglo Americans, Mexicans, and Mexican Americans. By probing the war's traumas, anxieties, and consequences with a fresh attention to narrative, Rodríguez shows us the relevance of the U.S.-Mexican War to our own era of demographic and cultural change. Reading across dime novels, frontline battle accounts, Mexican American writings and a wide range of other popular discourse about the war, Rodríguez reveals how historical awareness itself lies at the center of contemporary cultural fears of a Mexican "invasion," and how the displacements caused by the war set key terms for the ways Mexican Americans in subsequent generations would come to understand their own identities. Further, this is also the first major comparative study that analyzes key Mexican war texts and their impact on Mexico's national identity.

The last fifteen years have seen a tremendous growth in the number of health rights cases focusing on issues such as access to health services and essential medications. This volume examines the potential of litigation as a strategy to advance the right to health by holding governments accountable for these obligations. It includes case studies from Costa Rica, South Africa, India, Brazil, Argentina and Colombia, as well as chapters that address cross-cutting themes.

The authors analyze what types of services and interventions have been the subject of successful litigation and what remedies have been ordered by courts. Different chapters address the systemic impact of health litigation efforts, taking into account who benefits both directly and indirectly—and what the overall impacts on health equity are.

From midwifing new lambs to harvesting basil, Jessica Gigot invites the reader into her life on a small farm and the uncommon road that led her there. Fascinated by farming and the burgeoning local food movement, she spent her twenties wandering the Pacific Northwest, interning at small farms and doing graduate work in horticulture, always with an eye towards learning as much as she could about how and why people farm. Despite numerous setbacks and the many challenges of farming, she created a family and farm life defined by resilience and a genuine love of the land.   

In A Little Bit of Land, Gigot explores the intricacies of small-scale agriculture in the Pacific Northwest and the changing role of women in this male-dominated industry. Gigot alternates between chapters describing joys, routines, and challenges of farm life and chapters reflecting on her formative experiences in agriculture, on farms and in classrooms from Ashland to the Skagit Valley. Throughout, she explores questions of sustainability, economics, health, and food systems.

A concise introduction to the greatest questions of modern cosmology.

What came before the big bang? How will the universe evolve into the future? Will there be a big crunch? Questions like these have no definitive answers, but there are many contending theories. In A Little Book about the Big Bang, physicist and writer Tony Rothman guides expert and uninitiated readers alike through the most compelling mysteries surrounding the nature and origin of the universe.

Cosmologists are busy these days, actively researching dark energy, dark matter, and quantum gravity, all at the foundation of our understanding of space, time, and the laws governing the universe. Enlisting thoughtful analogies and a step-by-step approach, Rothman breaks down what is known and what isn’t and details the pioneering experimental techniques scientists are bringing to bear on riddles of nature at once utterly basic and stunningly complex. In Rothman’s telling, modern cosmology proves to be an intricate web of theoretical predictions confirmed by exquisitely precise observations, all of which make the theory of the big bang one of the most solid edifices ever constructed in the history of science. At the same time, Rothman is careful to distinguish established physics from speculation, and in doing so highlights current controversies and avenues of future exploration.

The idea of the big bang is now almost a century old, yet with each new year comes a fresh enigma. That is scientific progress in a nutshell: every groundbreaking discovery, every creative explanation, provokes new and more fundamental questions. Rothman takes stock of what we have learned and encourages readers to ponder the mysteries to come.

    Little Caesar, a 1931 Hollywood gangster classic, is viewed in revivals today with nearly as much audience enthusiasm as it enjoyed a half-century ago, in the depths of the Great Depression.
    In general, the Hollywood film industry responded to the dark economic conditions of the 1930s with escapist and non-topical films. The fascinating exception was the gangster film, through which the studios joined in the debate over the spiritual and economic health of the nation. Little Caesar, considered by many to be an architype of the genre, is one of the most memorable dramatizations of the discontent and alienation, the deep anxiety and hostility shared by millions of Americans during those dark years.

Funny happenings.

The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences ca. 205–184 BC, are the earliest Latin works to survive complete and are cornerstones of the European theatrical tradition from Shakespeare and Molière to modern times. This fourth volume of a new Loeb edition of all twenty-one of Plautus’ extant comedies presents The Little Carthaginian, Pseudolus, and The Rope with freshly edited texts, lively modern translations, introductions, and ample explanatory notes.

A poetics for reading the everyday objects that populate a hard drive

Bespoke online archives like PennSound and Eclipse host an astounding array of “old media” artifacts, posing a handcrafted counterpoint to the immense databases aggregated by digital titans like Google and Facebook. In The Little Database, Daniel Scott Snelson argues for the significance of these comparatively “small” collections, exploring how digital archives dramatically transform the artifacts they host and how they might help us better understand our own private collections in turn.

Examining curated collections such as Textz, UbuWeb, and the Electronic Poetry Center, Snelson explores media-specific works by poets and artists, including William Carlos Williams, Tracie Morris, bill bissett, Nam June Paik, and Vicki Bennett. He develops creative tools and contingent methods for reading cultural data, whether found on the internet or in our own collections of TXT, JPG, MP3, and MOV artifacts, presenting case studies to show how these objects have come to find revised meaning in their digital contexts. Along the way, experimental poetic interludes give readers practical entry points into the creative practice of producing new meanings in any given little database.

Inventive and interdisciplinary, The Little Database grapples with the digitized afterlives of cultural objects, showing how the past is continually reconfigured to shape the present. It invites readers to find playful and personal means for unpacking their own data collections, in the process discovering idiosyncratic ways to explore and connect with digital archives.

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