A SCHOLARLY BOOK REPOSITORY131 have author last names that start with H have author last names that start with H
The Secret War marks a new direction in the cultural history and theory of intelligence gathering and state secrecy in the twentieth and early twenty-first centuries. While historical truth remains hidden from the public, Eva Horn finds in political fiction, which serves as both an indicator and a tool, a means to analyze political secrets. Starting with a general theory of treason and military intelligence as a specific type of political knowledge, the book charts the history of intelligence gathering from 1900 to 9/11. The Secret War analyzes literary and cinematic depictions of espionage from Rudyard Kipling and T. E. Lawrence to John Le Carré and Steven Spielberg. Horn considers these fictional accounts against the historical development of Western secret services from their inception in World War I to their struggle against current terrorist networks. The Secret War shows the crucial part fictions play in shaping conflicts, constructing “the enemy,” and deciding political strategies.
The memoir begins with a conversation between Horton and Ralph Ellison’s Invisible Man statue in New York City. Their imagined dialogue examines the psychological impact of racism on Black men and boys, including Horton’s separation from his mother, immediately after his birth, in a segregated Alabama hospital. From his current life as a professor and prison reformer, Horton looks back on his experiences as a drug smuggler and trafficker during the 1980s–1990s as well as the many obstacles he faced after his release. He also examines the lasting impact of his drug activity on those around him, reflecting on the allure of economic freedom and the mental escapism that cocaine provided, an allure so strong that both sellers and users were willing to risk prison. Horton shares historical context and vivid details about people caught in the war on drugs who became unsuspecting protagonists in somebody else’s melodrama.
Lyrical and gripping, Dead Weight reveals the lifelong effects of one man’s incarceration on his psyche, his memories, and his daily experience of American society.
Pitch Dark Anarchy investigates the danger of one single narrative with multilayered poems that challenge concepts of beauty and image, race and identity, as well as the construction of skin color. Through African American memory and moments in literature, the poems seek to disrupt and dismantle foundations that create erasures and echoes of the unremembered. Pitch Dark Anarchy uses the slave revolt of the Amistad as a starting point, a metaphor for "opposition" and "against." These themes run through the very core for the book while drawing on inventive and playful language. The poems bring to life human experiences and conditions created by an "elite" society. In these poems, locations and landscapes are always shifting, proving that our shared experiences can be interchangeable. At the very core of Pitch Dark Anarchy is a seven-part poem based on the artist Margret Bowland’s "Another Thorny Crown Series," which are paintings of an African American girl in white face.
Through innovative formal and visual techniques, such as fractured syntax and typographical disruption, Horton evokes the disorienting experiences of urban life, while also calling into question the complicity of language in the oppressive structures he anatomizes.
The stories in Dare the Sea explore Iran’s landscape, culture, and the undercurrent of change affecting its people—both in Iran and the United States. The stories in the first half of the collection are set in Iran in the time before and just after the Iranian Revolution of 1979. Each tale discloses the obstacles rural Iranians lived with on a daily basis and the exigencies of survival: petty theft, corruption, drug trafficking, religion, and love. Stories in the second half take place in exile, where characters are seemingly dropped into American locales like the Midwest or Hawaii, taking in their situation with only the survival skills they’ve learned in their own land and enduring the hardships of being strangers in a new country.
Loosely interconnected by reappearing characters, the stories in Dare the Sea are strongly linked by the country of Iran, its landscape, its history, and its hold on its people.
The Place of Stones is Ali Hosseini’s newly translated first novel, his second book to appear in English. In it, he paints a vivid portrait of Sangriz, a village in the southern part of Iran where life has been disrupted by industrialization and the revolution of 1979.
Haydar and Jamal are best friends, and their families have always made their living from the land in the foothills of Iran’s Zagros Mountains. Haydar is a dreamer who searches the hills for an ancient treasure called the Black Globe. Jamal is in love with Haydar’s sister, Golandam, and he attempts to accommodate himself to modernization as a way to create a better life for the two of them. The rapacious conversion of farmland to brick factories draws the trio into escalating conflict with the village landlord.
As Jamal, Haydar, and their families confront land reform, industrialization, revolution, and war, their lives are pulled forcefully toward the explosive events that will change them all. In masterfully crafted prose that never sinks into sentimentality, The Place of Stones illuminates how a lost past continues to shape the present.
Hegel and Deleuze cannily examines the various resonances and dissonances between these two major philosophers. The collection represents the best in contemporary international scholarship on G. W. F. Hegel and Gilles Deleuze, and the contributing authors inhabit the as-yet uncharted space between the two thinkers, collectively addressing most of the major tensions and resonances between their ideas and laying a solid ground for future scholarship.
The essays are organized thematically into two groups: those that maintain a firm but nuanced disjunction or opposition between Hegel and Deleuze, and those that chart possible connections, syntheses, or both. As is clear from this range of texts, the challenges involved in grasping, appraising, appropriating, and developing the systems of Deleuze and Hegel are varied and immense. While neither Hegel nor Deleuze gets the last word, the contributors ably demonstrate that partisans of either can no longer ignore the voice of the other.
Addressing a range of important topics, the essays examine the conceptual bases of Hegel's organization of his aesthetics, his treatment of various specific arts (architecture, sculpture, painting, music, and tragedy), and several of the most famous issues in the literature--including the "end of art" thesis, the relation between art and religion, and the vexed relationship between Hegel and the romantics. Together they shed light on the profound reflections on art contained in Hegel's philosophy and also suggest ways in which his aesthetics might resonate well beyond the field of philosophical aesthetics, perhaps beyond philosophy itself.
A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques.
Kellen Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice’s “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale.
Gaps is a more overtly political novel than either In-House Weddings or Vita Nuova. The 1968 Soviet invasion of Czechoslovakia and the subsequent repression of artistic freedom figure prominently. Hrabal is placed on the "liquidated writers" list, and copies of his novel Poupata (Buds) are disposed of at the paper salvage where he once worked. Hrabal's decision to tell his autobiography in his wife Eliska's voice highlights their very close relationship and lovingly details her deep influence on his work. Every movement, sound, fragrance, and color is detailed, creating a collage of Bohumil and Eliska's life together, an unforgettable picture that reveals the author's innermost attitudes to life, love, and the pursuit of his own art.
The task, taken up by such a rogue comic talent, could be nothing other than strangely delightful; and in In-House Weddings, the first of the trilogy that Hrabal produced, we meet the author through the eyes of his wife Eliska. She narrates his life from his upbringing in Nymburk through his work as a dispatcher in a train station and then in a scrap paper plant, his first publication, his trouble with the authorities, and his association with notable artists and authors such as Jiri Kolar, Vladimir Boudnik, and Arnost Lustig. Hrabal’s bohemian life was itself a source of great interest to the Czech public; transmuted here, it is even more compelling, a wry portrait of artistic life in postwar Eastern Europe and a telling reflection on how such a life might be recast in the light of literary brilliance.
Vita Nuova is the second in a trilogy of memoirs written from the perspective of Bohumil Hrabal’s wife, Elis.ka, about their life in Prague from the 1950s to the 1970s, when Communist repression of artists was at its peak.
Hrabal’s inimitable humor, which in Elis.ka’s ruminations ranges from bawdy slapstick to cutting irony, is all the more penetrating for being directed at himself. Vita Nuova showcases Hrabal’s legendary bohemian intellectual life, particularly his relationship with Vladimír Boudník. Hrabal creates a shrewd, lively portrait of Eastern European intellectual life in the mid-twentieth century.
In the absence of specialized programs of study, abstract discussions of China in Latin America took shape in contingent critical infrastructures built at the crossroads of the literary market, cultural diplomacy, and commerce. As Rosario Hubert reveals, modernism flourishes comparatively, in contexts where cultural criticism is a creative and cosmopolitan practice.
Disoriented Disciplines: China, Latin America, and the Shape of World Literature understands translation as a material act of transfer, decentering the authority of the text and connecting seemingly untranslatable cultural traditions. In this book, chinoiserie, “coolie” testimonies, Maoist prints, visual poetry, and Cold War memoirs compose a massive archive of primary sources that cannot be read or deciphered with the conventional tools of literary criticism. As Hubert demonstrates, even canonical Latin American authors, including Jorge Luis Borges, Octavio Paz, and Haroldo de Campos, write about China from the edges of philology, mediating the concrete as well as the sensorial.
Advocating for indiscipline as a core method of comparative literary studies, Disoriented Disciplines challenges us to interrogate the traditional contours of the archives and approaches that define the geopolitics of knowledge.
Though his art could not have been more public, Walker maintained a low profile during his working life and virtually withdrew from the public eye after his retirement in 1989. Author Jeff W. Huebner met Walker in 1990 and embarked on a series of insightful interviews that stretched over the next two decades. Those meetings and years of research form the basis of Walls of Prophecy and Protest, the story of Walker’s remarkable life and the movement that he inspired.
Featuring forty-three color images of Walker’s work, most long since destroyed or painted over, this handsome edition reveals the artist who was the primary figure behind Chicago’s famed Wall of Respect and who created numerous murals that depicted African American historical figures, protested social injustice, and promoted love, respect, racial unity, and community change.
A capacious analysis of a legendary intellectual friendship and the material legacies it left behind
Over the course of their decades-long friendship, Hélène Cixous and Jacques Derrida assembled overlapping archives of written experiments and exchanges that document a shared interest in their literary afterlives. In this incisive account, Laura Hughes shows how pushing against the limits of writing and of life itself means not only imagining but manifesting a community of future readers.
Archival Afterlives: Cixous, Derrida, and the Matter of Friendship examines the embodied nature of literary creation, taking letters, fragments, notes, and other ephemera as objects of critical analysis and care. Combining close readings of key texts and previously unexamined archival materials, Hughes traces critical connections between Cixous and Derrida, between the theoretical and the autobiographical, and between life writing and its limits. In putting deconstruction into dialogue with new material analyses and archive studies, Archival Afterlives positions this historical and intellectual relationship as a lens through which to reexamine the legacy of critical theory itself.
Winner of the American Literary Translators Association 2010 National Translation Award
Petra Hůlová became an overnight sensation when All This Belongs to Me was originally published in Czech in 2002, when the author was just twenty three years old. She has since established herself as one of the most exciting young novelists in Europe today. Writings from an Unbound Europeis proud to publish the first translation of her work in English.
All This Belongs to Me chronicles the lives of three generations of women in a Mongolian family. Told from the point of view of a mother, three sisters, and the daughter of one of the sisters, this story of secrets and betrayals takes us from the daily rhythms of nomadic life on the steppe to the harsh realities of urban alcoholism and prostitution in the capital, Ulaanbaatar. All This Belongs to Me is a sweeping family saga that showcases Hůlová's genius.
Carol Sue Humphrey’s The American Revolution and the Pressargues that newspapers played an important role during America’s struggle for independence by keeping Americans engaged in the war even when the fighting occurred in distant locales. From the moment that the colonials received word of Britain’s new taxes in 1764 until reports of the peace treaty arrived in 1783, the press constituted the major source of information about events and developments in the conflict with the mother country. Both Benjamin Franklin, one of the Revolution’s greatest leaders, and Ambrose Serle, a Loyalist, described the press as an “engine” that should be used to advance the cause. The efforts of Patriot printers to keep readers informed about the war helped ensure ultimate success by boosting morale and rallying Americans to the cause until victory was achieved. As Humphrey illustrates, Revolutionary-era newspapers provided the political and ideological unity that helped Americans secure their independence and create a new nation.
The contributors to Against Life think critically about the turn to life in theory and culture and especially about its redemptive tendencies. Editors Alastair Hunt and Stephanie Youngblood shape their collection to provocatively challenge an assumption rife in the humanities, mainly that the idea of redeeming life might hinder important ethical conversations.
They and their contributors question whether it is intelligent—or even necessary— to orient our collective ethico-political projects from figures of life, and to posit forms of equality and freedom that might emerge if we did not organize being-together under the sign of life. Taken together the essays in Against Life mark an important turn in the ethico-political work of the humanities.
Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‑first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed.
Each site examined in Playing Real purports to show audiences something real—real theater, real housewives, real alternative scenarios—which is simultaneously visible as overtly constructed, adulterated by artifice and artificiality. The integration of mediatization and theatricality in these performances, Hunter argues, exploits the proclivities of both to conjure the real even as they risk corrupting the perception of authenticity by imbricating it with artifice and overt manipulation.
Although the performances analyzed obscure boundaries separating actual from virtual, genuine from artificial, and truth from fiction, Hunter rejects the notion that these productions imperil the “real.” She insists on uncertainty as a fertile site for productive and pleasurable mischief—including relationships to realness and authenticity among both audience and participants.
This novel analysis thus challenges the common assumption that an ideal theory of cosmopolitanism constitutes Kant’s sole political legacy. Dilek Huseyinzadegan demonstrates that Kant employs a teleological worldview throughout his political writings as a means of grappling with the pressing issues of multiplicity, diversity, and plurality—issues that confront us to this day.
Kant’s Nonideal Theory of Politics is the first book-length treatment of Kant’s political thought that gives full attention to the role that history, anthropology, and geography play in his mainstream political writings. Interweaving close textual analyses of Kant’s writings with more contemporary political frameworks, this book also makes Kant accessible and responsive to fields other than philosophy. As such, it will be of interest to students and scholars working at the intersections of political theory, feminism, critical race theory, and post- and decolonial thought.
Husserl provides not only a history of philosophy but a philosophy of history. As he says in Part I, "The genuine spiritual struggles of European humanity as such take the form of struggles between the philosophies, that is, between the skeptical philosophies--or nonphilosophies, which retain the word but not the task—and the actual and still vital philosophies. But the vitality of the latter consists in the fact that they are struggling for their true and genuine meaning and thus for the meaning of a genuine humanity."
An exemplar of the women’s club movement, over the course of its long history the Woman’s Club has redirected its efforts in service and philanthropy and adjusted its organization in response to the changing needs of its community. The Charitable Foundation of the Woman’s Club of Evanston was established to support programs that provide a continuity of care and education and address gaps in funding for families in need. In 2010, the Harbert Society was created to recognize individuals who support the Woman’s Club of Evanston and to encourage and document planned gifts.
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