Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting.

By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions—some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting's systems of reference to allow scholars to express dissent with impunity contributed to the art's vitality and longevity.

Richard Poirier, one of America's most eminent critics, reveals in this book the creative but mostly hidden alliance between American pragmatism and American poetry. He brilliantly traces pragmatism as a philosophical and literary practice grounded in a linguistic skepticism that runs from Emerson and William James to the work of Robert Frost, Gertrude Stein, and Wallace Stevens, and on to the cultural debates of today.

More powerfully than ever before, Poirier shows that pragmatism had its start in Emerson, the great example to all his successors of how it is possible to redeem even as you set out to change the literature of the past. Poirier demonstrates that Emerson—and later William James—were essentially philosophers of language, and that it is language that embodies our cultural past, an inheritance to be struggled with, and transformed, before being handed on to future generations. He maintains that in Emersonian pragmatist writing, any loss—personal or cultural—gives way to a quest for what he calls “superfluousness,” a kind of rhetorical excess by which powerfully creative individuals try to elude deprivation and stasis. In a wide-ranging meditation on what James called “the vague,” Poirier extols the authentic voice of individualism, which, he argues, is tentative and casual rather than aggressive and dogmatic.

The concluding chapters describe the possibilities for criticism created by this radically different understanding of reading and writing, which are nothing less than a reinvention of literary tradition itself. Poirier's discovery of this tradition illuminates the work of many of the most important figures in American philosophy and poetry. His reanimation of pragmatism also calls for a redirection of contemporary criticism, so that readers inside as well as outside the academy can begin to respond to poetic language as the source of meaning, not to meaning as the source of language.

“We are given a vivid sense of how songs were circulated and performed on the streets of Paris…Darnton has opened up another rich vein of research in the eighteenth century.” —Times Literary Supplement

In spring 1749, François Bonis, a medical student in Paris, found himself unexpectedly hauled off to the Bastille for distributing an “abominable poem about the king.” So began the Affair of the Fourteen, a police crackdown on ordinary citizens for unauthorized poetry recitals. Why was the official response to these poems so intense?

In this captivating book, Robert Darnton follows the poems as they passed through several media: copied on scraps of paper, dictated from one person to another, memorized and declaimed to an audience. But the most effective dispersal occurred through music, when poems were sung to familiar tunes. Lyrics often referred to current events or revealed popular attitudes toward the royal court. The songs provided a running commentary on public affairs, and Darnton brilliantly traces how the lyrics fit into song cycles that carried messages through the streets of Paris during a period of rising discontent. He uncovers a complex communication network, illuminating the way information circulated in a semi-literate society.

This lucid and entertaining book reminds us of both the importance of oral exchanges in the history of communication and the power of “viral” networks long before our internet age.

Most critics agree that Euripidean tragedy addresses a wealth of political questions, and that it successfully incorporates and engages with a variety of ancient Greek poetic traditions. Nevertheless, these topics and questions have generally been treated separately. In this book, Jonah Radding contends that the political issues addressed in Euripides’ tragedies are inextricably related to his employment of choral lyric genres such as paean and epinician, and to his engagement with canonical poetic texts such as the Iliad and Aeschylus’ Agamemnon.

We see that Euripides consistently recasts traditional poetic genres and texts in order to dramatize and illuminate political questions that are central to his tragedies. At the same time, Radding suggests that the dramatic politicization of the poetic tradition also serves to question the manner in which ancient Athenians understood and utilized these various poetic forms in their own polis. Ultimately, we see that the relationship between poetry and politics in Euripidean tragedy is truly reciprocal, for both aspects illuminate—and are illuminated by—the other, each becoming a more powerful force in the process.

Detailed and rife with social and cultural implications, Poetry and Violence is a compelling commentary on violence as both human experience and communicative action.

The Derveni Papyrus is the oldest known European "book." It was meant to accompany the cremated body in Derveni Tomb A but, by a stroke of luck, did not burn completely. Considered the most important discovery for Greek philology in the twentieth century, the papyrus was found accidentally in 1962 during a public works project in an uninhabited place about 10 km from Thessaloniki, and it is now preserved in the Archaeological Museum of Thessaloniki.

The papers in Poetry as Initiation discuss a number of open questions: Who was the author of the papyrus? What is the date of the text? What is the significance of burying a book with a corpse? What was the context of the peculiar chthonic ritual described in the text? Who were its performers? What is the relationship of the author and the ritual to the so-called Orphic texts?

One chapter is devoted to Charles Bukowski, the celebrity face of the city’s poetry. Other chapters discuss the ways that poets explore “Interiors” and “Exteriors” throughout the cityscape. Goldstein also provides ample connections to the novels, films, art, and politics of Southern California. In clear prose, Poetry Los Angeles examines the strategies by which poets make significant places meaningful and memorable to readers of every region of the U.S. and elsewhere.

American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original.

Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole.

By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry.

Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.

The transparent beauty and effortless grace of George Herbert's poetry have made it seem almost devoid of art. In this comprehensive reading of Herbert, Helen Vendler reveals the complexity inherent in the apparent simplicity of his lyrics. Herbert appears here, both in introspective and in devotional verse, as a poet of universal feeling whose work can be given a human interpretation independent of any religious conviction.

Very nearly all of Herbert's poems are treated in this finely written, forcefully argued study. By looking at the poet's less successful attempts as well as at his best work, Vendler is able to trace his surest line of development in the various modes and forms in which he worked. Comparisons with the work of his adapters and imitators make apparent the perfection and finish of his lines, their interior intellectual and psychological harmony.

“I cannot imagine that anybody who cares for Herbert, or more generally for poetry, will fail to learn something from this book.”
—Frank Kermode, New York Times Book Review

A comprehensive reevaluation of the eminent metaphysical poet discovers the human passions warring with his saintly visions of divine harmony.

George Herbert’s admission to the canon of English poetry was hard won. Though acclaimed in his own time as an exemplar of pious conformity to Anglican orthodoxies, the distinctive personality and profound creativity of Herbert’s lyrics went largely unremarked. Even after he was rediscovered—first by Samuel Taylor Coleridge, later by T. S. Eliot—he was seen as exceptional mainly for the depth of his religious conviction: inspiring to devout Christians, but otherwise a resoundingly minor poet.

Helen Vendler gives us a different, more expansive Herbert. In place of a doctrinal poet seeking the ideal form for conventional religious beliefs, she shows us one whose exuberant search for experiential truth exceeds any dogmatic content. Scripture and traditional liturgies are his starting point, but he is propelled by a restless intellect that is never satisfied with received wisdom. “My thoughts,” Herbert writes, “are all a case of knives.” Yet his faith remains unshaken. Herbert’s singular genius, Vendler argues, is his ability to embody in verse the unresolved tensions between customary belief and personal meaning, between self-effacing deference to God and egotistic protest, between anodyne cliché and trenchant insight. His poems constantly double back, reject their initial premises, and redefine their topic to approach, always unsteadily, the truth of his own feeling.

Covering nearly all of Herbert’s poetry, from his devotional verse to his allegorical and speculative lyrics, Vendler demonstrates his incomparable significance, not only as a Christian poet but also as a poet of universal feeling—one to be prized by any reader moved by an authentic voice.

John Milton is regarded as the greatest English poet after Shakespeare. Yet for sublimity and philosophical grandeur, Milton stands almost alone in world literature. His peers are Homer, Virgil, Dante, Wordsworth, and Goethe: poets who achieve a total ethical and spiritual vision of the world. In this panoramic interpretation, the distinguished Milton scholar Gordon Teskey shows how the poet’s changing commitments are subordinated to an aesthetic that joins beauty to truth and value to ethics. The art of poetry is rediscovered by Milton as a way of thinking in the world as it is, and for the world as it can be.

Milton’s early poems include the heroic Nativity Ode; the seductive paired poems “L’Allegro” and “Il Penseroso”; the mythological pageant Comus, with its comically diabolical enchanter and its serious debate on the human use of nature; and “Lycidas,” perhaps the greatest short poem in English and a prophecy of vast human displacements in the modern world. Teskey follows Milton’s creative development in three phases, from the idealistic transcendence of the poems written in his twenties to the political engagement of the gritty, hard-hitting poems of his middle years. The third phase is that of “transcendental engagement,” in the heaven-storming epic Paradise Lost, and the great works that followed it: the intense intellectual debate Paradise Regained, and the tragedy Samson Agonistes.

Upon the fall of the Han empire, the warlord Cao Cao (155–220) established a new political domain. The Cao court became known for its accomplished writers, including the warlord himself and two of his sons, Cao Pi (187–226) and Cao Zhi (192–232). Afflicted by sibling rivalry and an epidemic, these poets distinguished themselves by writing about frustration, sorrow, and death.

Yet, as observed in Poetry of Loss, the poets drew on experiences of loss to reinvent the court, its collective memory, and its ways of remembering. While addressing melancholy and nostalgia, they also meditated on such themes as aging, widowhood, and parental loss. In this book, Hsiang-Lin Shih reconstructs a network of courtly texts and uncovers new inter-and-intra textual elements of the works. She shows how writers at the Cao court employed their poetic art to establish, develop, and sustain a community in each difficult moment of their intertwined lives. 

“I undertook the greatest departure from myself: creation, wanting to illuminate words.” So wrote Chilean poet Pablo Neruda in 1924 at the start of a long and brilliant career that was to bring him international renown—and, in 1971, two years before his death, the Nobel Prize in Literature. This work, intended for the general reader as well as the specialist, explores the sensitive complexities of the varied, sometimes contradictory, and always exciting writings produced during fifty years. Neruda’s output throughout his long literary life was phenomenal, and certain volumes have already become modern-day classics; it is these that René de Costa concentrates on. After describing the reception of each book at the time of publication, he evaluates its importance among Neruda’s oeuvre and, through the use of carefully selected Spanish verses, all translated into English, makes the reader aware of the range and aesthetic significance of the poet’s work.

Midway through his career as poet-diplomat, Neruda joined the Communist Party and became a poet-politician, a fact that far too often has colored the reception of his literary efforts. Here, for perhaps the first time, is a book that rises above such tendentious criticism to give an impartial view of the poet’s political and nonpolitical writings. The discerning reader is left with a heightened respect for and appreciation of the man who believed that “Poetry is like bread, and it must be shared…by everyone in our vast, incredible, extraordinary family of man.”

"The great pleasure of this book is the writing itself. Not only is it free of academic and ‘lit-crit' jargon, it is lively prose, often deliciously witty or humorous, and utterly contemporary. Poetry's Afterlife has terrific classroom potential, from elementary school teachers seeking to inspire creativity in their students, to graduate students in MFA programs, to working poets who struggle with the aesthetic dilemmas Stein elucidates, and to teachers of poetry on any level."
--- Beckian Fritz Goldberg, Arizona State University

"Kevin Stein is the most astute poet-critic of his generation, and this is a crucial book, confronting the most vexing issues which poetry faces in a new century."
---David Wojahn, Virginia Commonwealth University

At a time when most commentators fixate on American poetry's supposed "death," Kevin Stein's Poetry's Afterlife instead proposes the vitality of its aesthetic hereafter. The essays of Poetry's Afterlife blend memoir, scholarship, and personal essay to survey the current poetry scene, trace how we arrived here, and suggest where poetry is headed in our increasingly digital culture. The result is a book both fetchingly insightful and accessible. Poetry's spirited afterlife has come despite, or perhaps because of, two decades of commentary diagnosing American poetry as moribund if not already deceased. With his 2003 appointment as Illinois Poet Laureate and his forays into public libraries and schools, Stein has discovered that poetry has not given up its literary ghost. For a fated art supposedly pushing up aesthetic daisies, poetry these days is up and about in the streets, schools, and universities, and online in new and compelling digital forms. It flourishes among the people in a lively if curious underground existence largely overlooked by national media. It's this second life, or better, Poetry's Afterlife, that his book examines and celebrates.

Kevin Stein is Caterpillar Professor of English and Director of the Creative Writing Program at Bradley University and has served as Illinois Poet Laureate since 2003, having assumed the position formerly held by Gwendolyn Brooks and Carl Sandburg. He is the author of numerous books of poetry and criticism.

digitalculturebooksis an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.

In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art.

Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis.

A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.

Why do we need new art? How free is the artist in making? And why is the artist, and particularly the poet, a figure of freedom in Western culture? The MacArthur Award–winning poet and critic Susan Stewart ponders these questions in The Poet’s Freedom. Through a series of evocative essays, she not only argues that freedom is necessary to making and is itself something made, but also shows how artists give rules to their practices and model a self-determination that might serve in other spheres of work.

Although many books deal individually with each of the major writers treated in Poets of Reality, none attempts through analyses of these particular men and their works, to identify the new directions taken by twentieth-century literature. J. Hillis Miller, challenging the assumption that modern poetry is merely the extension of an earlier romanticism, presents critical studies of the six central figures—Joseph Conrad, W. B. Yeats, T. S. Eliot, Dylan Thomas, Wallace Stevens, and William Carlos Williams—who played key roles in evolving a poetry in which “reality comes to be present to the senses, and present in the words of the poem which ratify this possession.”

A new kind of poetry has appeared in the twentieth century, the author claims, a poetry which, growing out of romanticism and symbolism, goes far beyond it. The old generalizations about the nature and use of poetry are no longer applicable, and it is the gradual emergence of new forms, culminating in the work of Williams, that Miller traces and defines.

“In reminding us to look at and listen to the actual words on the page...Vendler invites us to expand our response to experience, and to find in it—if we are both attentive and lucky—beauty and solace.”
—Christopher Benfey, New York Review of Books

The grand dame of poetic criticism defends lyric poetry as a product of fierce intelligence as much as creative inspiration.

Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation. All poets of any value are thinkers, she argues, even if no two think alike.

The four poets taken up in this volume—Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats—come from three different centuries and three different nations, and their styles of thinking are characteristically idiosyncratic. Vendler gives us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay; Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking; Dickinson experimenting with plot to characterize life’s unfolding; and Yeats thinking in images, using montage in lieu of argument.

With customary lucidity and vigor, Vendler pores over these poets’ lines to find evidence of thought in lyric, from subtle stylistic shifts that embody changes of mind to images that serve as condensations of concepts and emotions. Far more than in (frequently well-worn) themes, she demonstrates that poetic genius resides in open-ended contemplation: the interminable work of recalling, evaluating, and structuring experience in verse. Never linear or merely propositional, poems show us the human mind in process, inviting us to participate in experiential discoveries as they unfold.

Born eighty years ago in Lithuania, Czeslaw Milosz has been acclaimed “one of the greatest poets of our time, perhaps the greatest” (Joseph Brodsky). This self-described “connoisseur of heavens and abysses” has produced a corpus of poems, essays, memoirs, and fiction of such depth and range that the reader's imagination is moved far beyond ordinary limits of consciousness. In The Poet's Work Leonard Nathan and Arthur Quinn follow Milosz's wanderings in exile from Poland to Paris to Berkeley as they chart the singular development of his art. Relating his life and his works to the unfolding of his thought, they have crafted a lucid reading of Milosz that far surpasses anything yet written on this often enigmatic poet.

The Poet's Work is not only a solid introduction to Milosz; it is also a unique record of the poet's own interpretations of his work. As colleagues of Milosz at Berkeley, Nathan and Quinn had long, detailed discussions with the poet. It is this spirit of collaboration that brings a sense of immediacy and authority to their seamless study. Nathan and Quinn reveal as never before why Milosz is a true visionary, a poet of ideas in history. And they show how the influence of Blake, Simone Weil, Dostoevsky, Lev Shestov, and Swedenborg, together with Henry Miller, Allen Ginsberg, and Robinson Jeffers, has enriched his vision. Milosz's lifelong experience of totalitarian regimes that exalt science and technology over individual needs and aspirations, his acute sense of alienation as an émigré, and his humanistic zeal and belief in the primacy of living have brought a prismatic quality to his poetry.

At seventy, Milosz spoke of himself as an “ecstatic pessimist.” In their sensitive mapping of his art, Nathan and Quinn skillfully demonstrate that Milosz's global influence has been achieved by the ever-shifting balance he strikes between ecstasy and pessimism. Irony and humor are never far from this book, which not only communicates Milosz's polyphonic message but also evokes his uniquely humane sensibility. The Poet's Work is an illuminating introduction to Milosz that will inform and engage scholars and general readers for years to come.

A follow-up to the highly praised Poets Teaching Poets, Daniel Tobin and Pimone Triplett's Poet's Work, Poet's Play gathers together essays by some of the most important voices in contemporary poetry: Carl Dennis, Stephen Dobyns, Tony Hoagland, Heather McHugh, Ellen Bryant Voigt, Eleanor Wilner, Dean Young, and the late Larry Levis and Agha Shahid Ali.

Lively, accessible, and erudite, the pieces range from discussions on syntax and the syllable to an exploration of the complexities of canon formation under the shadow of imperialism, race, and history. Exploring the work of John Donne, William Butler Yeats, Robert Frost, Philip Larkin, Charles Olsen, Ezra Pound, Anne Carson, Robert Herrick, Harryette Mullen, and many others, Poet's Work, Poet's Play---like its predecessor volume---will be an invaluable tool for teachers, students, and poets at every level.

"Much more than a set of essays on poetic craft or aesthetic understandings, this collection takes on two of the most prevalent anxieties about writing poetry in our time: the place of subjectivity in poetry, and how to make a significant shape in language while both affirming and interrogating the poetic I's authority. This is a book for anyone who wants to write better poems, who wants to read with greater passion, and who believes that poetry is an independent category of human consciousness that can be as capaciousness as the world, and as nuanced."
---Tom Sleigh, author of Space Walk and Far Side of the Earth

"Gathering together essays by unquestionably important poets, Poet's Work, Poet's Play has immense pedagogical value in the way it demonstrates how to discover in poetry resources of language and structure often overlooked in first, and ensuing, readings of complex texts."
---Laurence Goldstein, Professor of English, University of Michigan, and Editor, Michigan Quarterly Review

"A valuable document illuminating critical aspects of the contemporary American poetry scene."
---John Koethe, Distinguished Professor of Philosophy at the University of Wisconsin, Milwaukee, and author of Sally's Hair: Poems

University of Utah Anthropological Papers No. 133

Point of Pines Pueblo has long been the center of theoretical debates in southwestern archaeology, yet detailed descriptions of the site have been lacking. Located on the San Carlos Apache Reservation in central Arizona, this large Mountain Mogollon village (about 800 rooms) dates from AD 1200 to 1400. For the first 100 years of occupation it was a multiethnic community and is often referenced in discussions of aggregation, community organization, migration, and ethnic interaction. In Point of Pines Pueblo Tammy Stone details the architectural structures and cultural materials at the site, providing a body of information never before published.

From 1947 to 1960, Point of Pines Pueblo was excavated by the University of Arizona field school under the direction of Emil Haury. Data from that work were housed at the Arizona State Museum Archives. Stone draws from those original excavation notes to present detailed descriptions of each architectural structure and extramural feature along with information on the associated artifacts, dated dendrochronology samples, and ethnobotanical samples unearthed at the site. A rich source of raw data, this book will serve as a valuable resource for years to come. 

A small child looks at a dripping faucet and says that it is drooling." Another calls a centipede a "comb." An older child notices the mess in his younger brother's room and says, "Wow, it sure is neat in here." Children's spontaneous speech is rich in such creative, nonliteral discourse. How do children's abilities to use and interpret figurative language change as they grow older? What does such language show us about the changing features of children's minds?

In this absorbing book, psychologist Ellen Winner examines the development of the child's ability to use and understand metaphor and irony. These, she argues, are the two major forms of figurative language and are, moreover, complementary. Metaphor, which describes and sometimes explains, highlights attributes of a topic. As such, it serves primarily a cognitive function. Irony highlights the speaker's attitude toward the subject arid presupposes an appreciation of that attitude by the listener. In contrast to metaphor, irony serves primarily a social function. Winner looks in detail at the ways these forms of language differ structurally and at the cognitive and social capacities required for each.

The book not only draws on the author's own empirical studies but also offers a valuable synthesis of research in the area: it is the first account that spans the realm of figurative language. Winner writes clearly and engagingly and enlivens her account with many vivid examples from children's speech. The book will appeal to developmental psychologists, educators, psychologists of language, early-language specialists, students of literature, indeed, anyone who is delighted by the fanciful utterances of young children.

As president of Harvard University, Neil Rudenstine has enjoyed a unique perspective on the state of higher learning, while exerting a significant influence on its recent and future course. Published to commemorate his decade-long tenure, this selection of Rudenstine’s talks and writings illuminates many of the ideas and issues that animate higher education today.

In a collection of more than fifty speeches and writings, Rudenstine eloquently explores topics both timely and timeless, from the educational importance of diversity to the enduring value of the humanities; from the teaching potential of new technologies to the profound benefits of basic research; from developments in the professions and public service to the singular power of education to transform lives.

Specially designed and printed in a limited edition, Pointing Our Thoughts features a foreword by Hanna Holborn Gray, President Emeritus of the University of Chicago and a member of the Harvard Corporation. As Gray remarks, “To read [Rudenstine’s] thoughtful and beautifully crafted speeches is to hear the voice of a teacher deeply committed to the vocation of opening minds to reflection and insight, listening intensely to his colleagues and entering with them into a continuing process of intellectual dialogue, sharing the convictions and perplexities of the search for understanding.” This volume is testament to that commitment. It represents an invaluable addition to the literature on higher education in America and around the world.

Spanish speakers can learn Brazilian Portuguese much more rapidly than any other language, and thousands of students have used Antônio Simões's text/workbook Com licença: Brazilian Portuguese for Spanish Speakers to make the transition between the two languages. Recognizing the need for a text that incorporates current cultural references and the latest language pedagogy, Simões now offers Pois não: Brazilian Portuguese Course for Spanish Speakers, with Basic Reference Grammar.

Pois não contrasts Portuguese and Spanish, which accomplishes two main goals. It teaches the equivalent of one year of college Portuguese in one semester, three times a week, to Spanish speakers who also have a solid understanding of English. Additionally, the book serves as a basic reference guide to Brazilian Portuguese for the same audience.

Pois não can be used by students in the classroom or by independent learners. Users of the book may focus on the drills alone, concentrate on both the explanations and drills, or use the book as a reference for consultation only. Answers to all of the exercises are included in the book. Audio and video recordings by native Brazilian speakers of dialogues that appear in the book can be downloaded at https://utexas.box.com/v/PoisNaoAudio.

Biological warfare is a menacing twenty-first-century issue, but its origins extend to antiquity. While the recorded use of toxins in warfare in some ancient populations is rarely disputed (the use of arsenical smoke in China, which dates to at least 1000 BC, for example) the use of "poison arrows" and other deadly substances by Native American groups has been fraught with contradiction. At last revealing clear documentation to support these theories, anthropologist David Jones transforms the realm of ethnobotany in Poison Arrows.

Examining evidence within the few extant descriptive accounts of Native American warfare, along with grooved arrowheads and clues from botanical knowledge, Jones builds a solid case to indicate widespread and very effective use of many types of toxins. He argues that various groups applied them to not only warfare but also to hunting, and even as an early form of insect extermination. Culling extensive ethnological, historical, and archaeological data, Jones provides a thoroughly comprehensive survey of the use of ethnobotanical and entomological compounds applied in wide-ranging ways, including homicide and suicide. Although many narratives from the contact period in North America deny such uses, Jones now offers conclusive documentation to prove otherwise.

A groundbreaking study of a subject that has been long overlooked, Poison Arrows imparts an extraordinary new perspective to the history of warfare, weaponry, and deadly human ingenuity.

Poisoning occurs in over half of Agatha Christie's many novels and stories. In fact, she used a larger number and broader selection of poisons and medicines, for a wider variety of purposes, with greater frequency, ingenuity, and scientific accuracy than any other detective fiction writer. Yet very little has been written on the use of drugs, poisons, and chemicals in Christie's fiction.

The Poisonous Pen of Agatha Christie entertainingly and authoritatively fills this gap. Michael Gerald explores the use of poisons and drugs in Christie's fiction not only to commit murder and suicide but also to incapacitate a victim, alter behavior, treat disease, or support addiction. He also analyzes her views, as expressed in her fiction and autobiography, on drug addiction, the health professions, the value of medicines, and scientific discoveries.

Especially valuable is Gerald's exhaustive listing of all drugs, poisons, and chemicals mentioned in Christie's novels and stories, with references to the work(s) in which each appears and the ways in which each is used. Other tables list all the novels and short stories and the chemicals that are used in each. Throughout, the properties of all drugs are clearly explained so that the reader needs no special scientific or medical knowledge.

The Poisonous Pen of Agatha Christie illuminates the fictional uses Christie made of her real-life experiences as a hospital drug dispenser and as a provider of nursing care. It will be of interest to fans and scholars alike.

Poker is an extraordinary worldwide phenomenon with major social, cultural, and political implications, and Poker: The Parody of Capitalism investigates the game of poker as a cultural expression of significance not unlike art, literature, film, or music. Tracing the history of poker and comparing the evolution of the game to the development of capitalism, Ole Bjerg complicates prevalent notions of “casino capitalism” and correspondingly facile and simplistic comparisons of late capitalism and poker. By employing Slavoj Žižek’s threefold distinction between imaginary-symbolic-real as a philosophical framework to analyze poker and to understand the basic strategies of the game, Bjerg explores the structural characteristics of poker in relation to other games, making a clear distinction between poker and other gambling games of pure chance such as roulette and craps. With its combination of social theory and empirical research, Poker offers an engaging exploration of a cultural trend.

"Poker is a theoretically sophisticated, highly original and innovative treatment of a contemporary social phenomenon, and contributes greatly to our understanding of the nature of contemporary capitalism."
—Charles Livingstone, Monash University Australia

This volume of essays and interviews by Polish, British, and American academics and journalists provides an overview of current Polish politics for both informed and non-specialist readers. The essays consider why and how PiS, Law and Justice, the party of Jarosław Kaczynski, returned to power, and the why and how of its policies while in power. They help to make sense of how “history” plays a key role in Polish public life and politics.

The descriptions of PiS in Western media tend to rework old stereotypes about Eastern Europe that had lain dormant for some time. The book addresses the underlying question whether PiS was simply successful in understanding its electorate, and just helped Poland to revert to its normal state. This new Normal seems quite similar to the old one: insular, conservative, xenophobic, and statist.

The book looks at the current struggle between one ‘Poland’ and another; between a Western-looking Poland and an inward-looking Poland, the former more interested in opening to the world, competing in open markets, and working within the EU, and the latter more concerned with holding onto tradition.

The question of illiberalism has gone from an ‘Eastern’ problem (Russia, Turkey, Hungary, etc.) to a global one (Brexit and the U.S. elections). This makes the very specific analysis of Poland’s illiberalism applicable on a broader scale.

Poland was central to the historic changes that took place across Eastern Europe at the end of the Cold War. It is the largest economy in the region, and was at the forefront of opposition to communism, with the rise of Solidarity in the 1980s. This book explores the way that neoliberal policies have formed the basis of transformation, championed by both post-communist and post-Solidarity governments.

Jane Hardy provides a rigorous assessment of the impact of these policies on everyday lives and Poland's place in the European and global economy. These are firmly set in the context of the complex and dynamic political economy of the country. The role of capital in the form of transnational corporations and foreign direct investment is central to the analysis. The revival of trade unions and growth of new social movements are explored as they challenge Poland's new capitalism.

No other book studies Poland's recent history in such depth. This book will be a key text for students of political economy, international relations, social movements and labour studies.

To many the goal of the Polaris program seemed unachievable when first proposed: to produce a ballistic missile with a range of over a thousand miles that would be capable of being launched from a submerged submarine. Today a fleet of Polaris-carrying submarines constantly patrols beneath the seas as a key element in a national strategy of deterrence. Harvey Sapolsky examines the Polaris missile program, one of the most costly and successful ever undertaken by the federal government, and describes the bureaucratic strategies the Polaris proponents employed to control the threatening environment.

Sapolsky points out that the Program Evaluation and Review Technique (PERT), which gained the program a worldwide reputation for managerial innovativeness, was as much a device to protect the program from external interference as an effective management tool. The book should be valuable to those concerned with bureaucratic politics, management techniques, weapons procurement, and arms control problems as well as to those who seek to understand the operations of American government.

An insightful examination of Latin America’s contemporary democratic landscape and how it is marked by patterns of polarization and volatility.

Although Latin American democracies have shown considerable resilience, today they face new forms of political polarization and instability. These challenges are closely connected to the legacies of the region’s “left turn,” which sought to transform entrenched inequalities and social hierarchies in the early twenty-first century. Unprecedented in its scope and duration, the left turn reflected an underlying realignment of political contestation in a highly unequal region. Yet despite notable achievements in addressing social needs, leftist parties struggled to deepen democracy by empowering popular majorities, and they faced powerful elite backlashes.

Through a comparative analysis of seven South American countries, Santiago Anria and Kenneth M. Roberts trace the different origins and trajectories in power of the populist and social democratic currents that emerged within the left turn. Anria and Roberts argue that today’s democratic orders face intensifying polarization and institutional fragility, even where social democratic parties made explicit efforts to build broad coalitions and temper political conflict. They show how activist networks and social movements on the left and the right triggered latent political conflicts and are now reshaping democratic competition and the terms of social inclusion in South American politics.

The global economic crisis has exposed the limits of neoliberalism and dramatically deepened social polarization. Yet, despite increasing social resistance and opposition, neoliberalism prevails globally.

Radical alternatives, moreover, are only rarely debated. And if they are, such alternatives are reduced to new Keynesian and new developmental agendas, which fail to address existing class divisions and imperialist relations of domination.

This collection of essays polarizes the debate between radical and reformist alternatives by exploring head-on the antagonistic structure of capitalist development. The contributors ground their proposals in an international, non-Eurocentric and Marxian inspired analysis of capitalism and its crises. From Latin America to Asia, Africa to the Middle East and Europe to the US, social and labour movements have emerged as the protagonists behind creating alternatives.

This book’s new generation of scholars has written accessible yet theoretically informed and empirically rich chapters elaborating radical worldwide strategies for moving beyond neoliberalism, and beyond capitalism. The intent is to provoke critical reflection and positive action towards substantive change.

This book fills a gap in the existing literature on how parties and party systems are developing in the new democracies of post-communist Central and Eastern Europe. It provides the first detailed, empirically based examination from a structural and organizational perspective of the new parties and political groupings that have emerged in Poland since the collapse of communism in 1989.

The author develops his argument on the basis of an analysis of five key structural and organizational variables: the internal distribution of power and modes of representation within the parties; the role of the party bureaucracy; the relationship between parties and their electorates; the development of parties as membership organizations; and the relationship between parties and the state.

As the first in-depth, empirically grounded single-country study of party structure and organization in post-communist Eastern Europe, the book provides an opportunity to draw broader conclusions about the process of Central and East European party development and will contribute significantly towards the development of a post-communist political party model. Szczerbiak sheds light on an important aspect of the more general process of post-communist democratization in the region and provides a major contribution to one of the least-explored areas of transition.

The police forces of the transition countries in Central and Eastern Europe have to undergo profound reform to be able to respond to the needs of society; to serve the public and not just the government, and to prove that they can effectively combat crime. This volume is the result of a survey by the Hungarian Helsinki Committee concerning the mode and extent of changes police forces of the post-communist countries have undergone since 1989 – 1990. Information is provided about the relevant tasks, organization, personnel, accountability, and international relations of the national police forces and about the coercive measures they are entitled to use.

Written by internationally acknowledged experts of policing and representatives of human-rights organizations, Police in Transition deals with the questions of transition, European trends in the governance of the police, the relationship between police and criminality, the role of the police in the constitutional framework, the limits of policing, police brutality, civilian oversight of the police and the possibilities of a democratic reform of police forces in Central and Eastern Europe. 

"Read him his rights." We all recognize this line from cop dramas. But what happens afterward? In this book, Richard Leo sheds light on a little-known corner of our criminal justice system--the police interrogation.

Incriminating statements are necessary to solve crimes, but suspects almost never have reason to provide them. Therefore, as Leo shows, crime units have developed sophisticated interrogation methods that rely on persuasion, manipulation, and deception to move a subject from denial to admission, serving to shore up the case against him. Ostensibly aimed at uncovering truth, the structure of interrogation requires that officers act as an arm of the prosecution.

Skillful and fair interrogation allows authorities to capture criminals and deter future crime. But Leo draws on extensive research to argue that confessions are inherently suspect and that coercive interrogation has led to false confession and wrongful conviction. He looks at police evidence in the court, the nature and disappearance of the brutal "third degree," the reforms of the mid-twentieth century, and how police can persuade suspects to waive their Miranda rights.

An important study of the criminal justice system, Police Interrogation and American Justice raises unsettling questions. How should police be permitted to interrogate when society needs both crime control and due process? How can order be maintained yet justice served?

Founded by Peter the Great in 1718, Russia’s police were key instruments of tsarist power. In the reign of Alexander II (1855-1881), local police forces took on new importance. The liberation of 23 million serfs from landlord control, growing fear of crime, and the terrorist violence of the closing years challenged law enforcement with new tasks that made worse what was already a staggering burden. (“I am obliged to inform Your Imperial Highness that the police often fail to carry out their assignments and, when they do execute them, they do so poorly because of their moral corruption…”) This book describes the regime’s decades-long struggle to reform and strengthen the police. The author reviews the local police’s role and performance in the mid-nineteenth century and the implications of the largely unsuccessful effort to transform them. From a longer-term perspective, the study considers how the police’s systemic weaknesses undermined tsarist rule, impeded a range of liberalizing reforms, perpetuated reliance on the military to maintain law and order, and gave rise to vigilante justice.

While its primary focus is on European Russia, the analysis also covers much of the imperial periphery, discussing the police systems in the Baltic Provinces, Congress Poland, the Caucasus, Central Asia, and Siberia.

This book reflects a conscious attempt to follow the general model of Martin Heidegger’s Zollikon Seminars, in which Heidegger engaged psychiatrists and psychologists in a sustained dialogue aimed at developing their critical awareness of the unexamined philosophical foundations informing their everyday clinical practice. Wender draws on Heidegger to argue that “praxis is poetry” and from this standpoint interprets all social action as intentional creation (or “poiesis”), which by its very nature is intrinsically meaningful. Using an interpretive framework that he calls a “phenomenological aesthetics of encounter,” Wender takes up a number of case studies of police-citizen encounters, including cases of domestic violence, contacts with juveniles, drug-related situations, instances of mental and emotional crisis, and death.