Sex Changes with Kleist analyzes how the dramatist and poet Heinrich von Kleist (1777–1811) responded to the change in the conception of sex and gender that occurred in the eighteenth century. Specifically, Katrin Pahl shows that Kleist resisted the shift from a one-sex to the two-sex and complementary gender system that is still prevalent today. With creative close readings engaging all eight of his plays, Pahl probes Kleist’s appreciation for incoherence, his experimentation with alternative symbolic orders, his provocative understanding of emotion, and his camp humor. Pahl demonstrates that rather than preparing modern homosexuality, Kleist puts an end to modern gender norms even before they take hold and refuses the oppositional organization of sexual desire into homosexual and heterosexual that sprouts from these norms.

Focusing on the theatricality of Kleist’s interventions in the performance of gender, sexuality, and emotion and examining how his dramatic texts unhinge major tenets of classical European theater, Sex Changes with Kleist is vital reading for anyone interested in queer studies, feminist studies, performance studies, literary studies, or emotion studies. This book changes our understanding of Kleist and breathes new life into queer thought.

Intervening in the multidisciplinary debate on emotion, Tropes of Transport offers a fresh analysis of Hegel’s work that becomes an important resource for Pahl’s cutting-edge theory of emotionality. If it is usually assumed that the sincerity of emotions and the force of affects depend on their immediacy, Pahl explores to what extent mediation—and therefore a certain degree of manipulation but also of sympathy—is constitutive of emotionality. Hegel serves as a particularly helpful interlocutor not only because he offers a sophisticated analysis of mediation, but also because, rather than locating emotion in the heart, he introduces impersonal tropes of transport, such as trembling, release, and shattering.

Theaters of Citizenship investigates independent Egyptian performance practices from 2004 to 2014 to demonstrate how young dramatists staged new narratives of citizenship outside of state institutions, exploring rights claims and enacting generational identity. Using historiography, ethnography, and performance analysis, the book traces this avant-garde from the theater networks of the late Hosni Mubarak era to productions following the Egyptian revolution of 2011.
 
In 2004, independent cultural institutions were sites for more democratic forms of youth organization and cultural participation than were Egyptian state theaters. Sonali Pahwa looks at identity formation within this infrastructure for new cultural production: festivals, independent troupes, workshops, and manifesto movements. Bringing institutional changes in dialogue with new performance styles on stages and streets, Pahwa conceptualizes performance culture as a school of citizenship. Independent theater incubated hope in times of despair and pointed to different futures for the nation’s youth than those seen in television and newspapers. Young dramatists countered their generation’s marginalization in the neoliberal economy, media, and political institutions as they performed alternative visions for the nation. An important contribution to the fields of anthropology and performance studies, Pahwa’s analysis will also interest students of sociology and Egyptian history.
 

The Scene of Foreplay: Theater, Labor, and Leisure in 1960s New York suggests "foreplay" as a theoretical framework for understanding a particular mode of performance production. That mode exists outside of predetermined structures of recognition in terms of professionalism, artistic achievement, and a logic of eventfulness. Foreplay denotes a peculiar way of working and inhabiting time in performance. It is recognized as emblematic of a constellation of artists in the 1960s New York scene, including Ellen Stewart, John Vaccaro, Ruby Lynn Reyner, Jackie Curtis, Andy Warhol, Tom Eyen, Jack Smith, and Penny Arcade.

Matching an original approach to historical materials and theoretical reflection, Palladini addresses the peculiar forms of production, reproduction, and consumption developed in the 1960s as labors of love, creating for artists a condition of “preliminarity” toward professional work and also functioning as a counterforce within productive economy, as a prelude where value is not yet assigned to labor.

The Scene of Foreplay proposes that such labors of love can be considered both as paradigmatic for contemporary forms of precarious labor and also resonating with echoes from marginal histories of the performing arts, in a nonlinear genealogy of queer resistance to ideas of capitalist productivity and professionalism. The book offers much for those interested in performance theory as well asin  the history of theater and performance arts in the 1960s.
 

Hermeneutics introduces English-speaking readers to a field of increasing importance in contemporary philosophy and theology—hermeneutics, the theory of understanding, or interpretation. Hermeneutics is concerned with the character of understanding, especially as it is related to interpreting linguistic texts. It goes beyond mere philological methodology, however, to questions of the philosophy of language, the nature of historical understanding, and ultimately the roots of interpretation in existential understanding.

Palmer principally treats the conception of hermeneutics enunciated by Heidegger and developed into a “philosophical hermeneutics” by Hans-Georg Gadamer. He provides a brief overview of the field of hermeneutics by surveying some half-dozen alternate definitions of the term and by examining in detail the contributions of Friedrich Schleiermacher and Wilhelm Dilthey. In the “Manifesto” which concludes the book, Palmer suggests the potential significance of hermeneutics for literary interpretation.

When the context of interpretation is pressed to its limits, hermeneutics becomes the philosophical analysis of what is involved in every act of understanding. In this context, hermeneutics becomes relevant not simply to the humanistic disciplines, in which linguistic and historical understanding are crucial, but to scientific forms of interpretation as well, for it asserts the principles involved in any and every act of interpretation.

2018 AATSEEL Prize for Best Book in Literary Scholarship

Scholars of modernism have long addressed how literature, painting, and music reflected the radical reconceptualization of space and time in the early twentieth century—a veritable revolution in both physics and philosophy that has been characterized as precipitating an “epistemic trauma” around the world. In this wide-ranging study, Benjamin Paloff contends that writers in Central and Eastern Europe felt this impact quite distinctly from their counterparts in Western Europe. For the latter, the destabilization of traditional notions of space and time inspired works that saw in it a new kind of freedom. However, for many Central and Eastern European authors, who were writing from within public discourses about how to construct new social realities, the need for escape met the realization that there was both nowhere to escape to and no stable delineation of what to escape from. In reading the prose and poetry of Czech, Polish, and Russian writers, Paloff imbues the term “Kafkaesque” with a complexity so far missing from our understanding of this moment in literary history.

A landmark book, David Pan’s Sacrifice in the Modern World seeks to explain the continuing emphasis, in modern times, on sacrifice. Pan specifically turns to the culture of sacrifice—ritualized and sanctified death—in Nazi Germany, showing how that regime co-opted an existing discussion of sacrifice and infused it with its own mythology. Pan suggests that sacrifice is a key value in every society but that there is a preponderance of association of sacrifice with Nazi culture and therefore a largely pejorative treatment of sacrifice.

Surveying the arguments of philosopher Alfred Baeumler and other symptomatic Nazi texts, Pan shows how the Nazis’ reactionary intellec­tual culture unraveled much of the Enlightenment project. In so doing, he is able to offer a compelling new perspective on basic theoretical concepts in the work of Kant, Nietzsche, Adorno, Bataille, Girard, and others. He posits that it is only by clearing our way through the Nazis’ misuse of sacrifice that we can understand the durability of sacrifi­cial structures that—following several of the theorists he discusses— establish the fundamental values by which we live our lives.

Rather than condemning the Nazi appeal to sacrifice itself, this book looks at the particular ways in which sacrifice was distributed and structured within that society. All cultures must grapple with the existential violence of the human condition, and they frequently do so through aesthetic treatments of sacrifice, rooted in myths and tradi­tions. Pan argues that our task is not to eradicate these traditions but to engage them by carefully evaluating the commitments and values that they imply.

This novel, set in the 1970s, tells the story of the "author," a middle-aged Polish professor who lives abroad but who earlier survived the Nazi concentration camps, and Rudolf, an old man. Told in stream of consciousness as well as through a triangular correspondence among Rudolf, the author, and the author's mother, the story emerges as a tale of subversion and liberation that echoes Gombrowicz in its exploration of transgressive desire. It will be of great interest to those interested in Polish literature and to readers of gay and lesbian literature.

Rejoining the Common Reader is suffused with the impulse that motivates Clara Claiborne Park's distinguished writing and teaching: the desire to related literature to the experience of its readers. This humane, balanced, and entertaining book will appeal to anyone who longs to recapture the pleasure of reading for personal enrichment and to teachers of literature who have grown to resent the intrusiveness of theory and theorizing and wish to reexamine what they are doing to, for, and with their students.

This encyclopedia serves as a guide to the fifty-six stories and four novels that comprise the Sherlock Holmes canon. Arranged alphabetically, Orlando Park provides entries on all manner of people, places, and objects from Arthur Conan Doyle’s novels and stories, as well as thorough treatments of the traits and opinions of Holmes and Watson. Throughout Park intends not only to answer questions but to stimulate curiosity, making the book an engaging guide for both the Sherlock Holmes aficionado and the reader new to Holmes's world.

An evaluation of the importance of textual criticism in evaluation of important literary works, based on his study of important American literary works by authors such as James, Crane, and Mailer.

“Who would have looked for philosophy in whales, or for poetry in blubber?” the London John Bull remarked in October of 1851. And yet, the reviewer went on, “few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod's whaling expedition.” A decade and a half before surprising the world with a book of Civil war poetry, Melville was already confident of what was “poetic” in his prose. As Hershel Parker demonstrates in this book, Melville was steeped in poetry long before he called himself a poet. 

Here Parker, the dean of Melville studies, gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet. His work corrects two of the most pernicious misconceptions about Melville perpetuated by earlier critics: that he repudiated fiction writing after Pierre, and that he hadn’t begun writing poetry (let alone had a book of poems ready for publication) as early as 1860. In clearing up these misapprehensions, Parker gives a thorough and thoroughly involving account of Melville’s development as a poet. Parker demonstrates for the first time just how crucial poetry was to Melville from childhood to old age, especially its re-emergence in his life after 1849. Drawing on Melville's shrewd annotations of great British poets and on his probing, skeptical engagement with commentaries on poetry (particularly by the great Scots reviewers), Parker paints a richly textured portrait of a hitherto unseen side of Herman Melville.

In this study of Melville's Billy Budd, Sailor, renowned Melville scholar Hershel Parker provides the fullest introduction to and analysis of this work to date. It is the first complete reading of Billy Budd to draw on the definitive but neglected Hayford-Sealts Genetic Text. For the first time, it places Billy Budd in the context of Melville's writings and projects of the last decade of his life; and it is the first to present the work as a product of the post-Gilded Age and fin-de-siecle period rather than of the mid-century high romanticism of Moby-Dick.

For Martin Heidegger the "fall" of philosophy into metaphysics begins with Plato. Thus, the relationship between the two philosophers is crucial to an understanding of Heidegger--and, perhaps, even to the whole plausibility of postmodern critiques of metaphysics. It is also, as the essays in this volume attest, highly complex, and possibly founded on a questionable understanding of Plato.

As editors Catalin Partenie and Tom Rockmore remark, a simple way to describe Heidegger's reading of Plato might be to say that what began as an attempt to appropriate Plato (and through him a large portion of Western philosophy) finally ended in an estrangement from both Plato and Western philosophy. The authors of this volume consider Heidegger's thought in relation to Plato before and after the "Kehre" or turn. In doing so, they take up various central issues in Heidegger's Being and Time (1927) and thereafter, and the questions of hermeneutics, truth, and language. The result is a subtle and multifaceted reinterpretation of Heidegger's position in the tradition of philosophy, and of Plato's role in determining that position.

Boris Pasternak is best known in the West for his epic novel Doctor Zhivago, whereas in Russia he is most celebrated as a poet. The two poetry collections offered here in translation are chronological and thematic bookends, and they capture Pasternak’s abiding and powerful vision of life: his sense of its beauty and terror, its precariousness for the individual, and its persistence in time—that vitality of being with which he is on familiar and familial terms.

In the early work My Sister Life, which commemorates the year 1917, Pasternak, then in his late twenties, found his poetic voice. The book would go on to become one of the most influential collections of Rus­sian poetry of the twentieth century. “The Poems of Yury Zhivago” are a part of the poet’s famous novel, Dr. Zhivago, whose title might be rendered in English as “Doctor Life.” These later lyrics are a kind of summing up that reflect, from the perspective of age and approaching death, upon the accumulated experience of a contemplative life amid turbulent and terrifying times.

Falen’s fresh new translations of these poems capture their expres­sion of the beauty and the joy, the terror and the pain, of what it is to be alive . . . and to die.

Boris Pasternak, the Nobel laureate and author of Doctor Zhivago, composed one of the world's great love poems in My Sister - Life. Written in the summer of 1917, the cycle of poems focuses on personal journeys and loves but is permeated by the tension and promise of the impending October Revolution.

Osip Mandelstam wrote: "To read the poems of Pasternak is to get one's throat clear, to fortify one's breathing. . . . I see Pasternak's My Sister - Life as a collection of magnificent exercises in breathing . . . a cure for tuberculosis." This English translation, rendered with verve and intelligence by Mark Rudman, is a heady gust that matches the intensity and power of the original Russian text.

Written by one of American theater's most avid and knowledgeable proponents, "No Legs, No Jokes, No Chance" traces the American musical from its rich and varied beginnings in European opera, American minstrel shows, and vaudeville through its many permutations to its current state--from, as Sheldon Patinkin puts it, La Boheme to Rent. Minstrelsy, burlesque, revue, dance, and choreographers, the "texts" of musical theater so often overlooked by its historians, finally receive due consideration in this thorough and thoroughly entertaining book about how American musical theater came to be and developed into what it is today.

Patinkin writes about the infancy of the musical--the revues, operettas, and early musical comedies, as well as the groundbreaking shows like Oklahoma!, and Show Boat that brought the form to its "golden age" during World War II. With insightful references to how history, literature, theater, fashion, popular music, and movies influenced musical theater generally and certain shows in particular, he traces a direct lineage from older forms to contemporary musicals. The result is a broad, clear, and detailed picture of American musicals within both an aesthetic and a historical context. Patinkin conveys the pleasure of the ever-changing forms of musical theater even as he gives readers the analytical tools and terms to understand and better appreciate this uniquely American art. The book features a selection of black and white photographs from historical musical productions, and each chapter includes suggestions for materials to watch and listen to at home or in the classroom.

Confronting Bakhtin’s formative reading of Dostoevsky to recover the ways the novelist stokes conflict and engages readers—and to explore the reasons behind his adversarial approach
 
Like so many other elements of his work, Fyodor Dostoevsky’s deliberate deployment of provocation was both prescient and precocious. In this book, Lynn Ellen Patyk singles out these forms of incitement as a communicative strategy that drives his paradoxical art. Challenging, revising, and expanding on Mikhail Bakhtin’s foundational analysis in Problems of Dostoevsky’s Poetics, Patyk demonstrates that provocation is the moving mover of Dostoevsky’s poetics of conflict, and she identifies the literary devices he uses to propel plot conflict and capture our attention. Yet the full scope of Dostoevsky’s provocative authorial activity can only be grasped alongside an understanding of his key themes, which both probed and exploited the most divisive conflicts of his era. The ultimate stakes of such friction are, for him, nothing less than moral responsibility and the truth of identity.
 
Sober and strikingly original, compassionate but not uncritical, Dostoevsky’s Provocateurs exposes the charged current in the wiring of our modern selves. In an economy of attention and its spoils, provocation is an inexhaustibly renewable and often toxic resource.

This darkly humorous fourth novel by Johnny Payne takes us from the blues clubs and boxing rings of Chicago to the world of Kentucky harness racing and the hedonism of South Beach. Its characters--among them the black elites of Chicago and the white working stiffs of Hooftown--live by their wits, able to outfox everyone but themselves, and all the time borne up by big hopes and big hearts.

A selection of poems by a contemporary master

John Peck's poems draw on both modernist and traditional resources, quarrying in the large gaps among contemporary readers of poetry. This definitive collection makes available difficult-to-find works by a remarkable, thoroughly original American poet. Peck's poems continue to attract a discerning, loyal audience of readers up to the challenge of confronting his astonishing range and ambitions.

"What did it mean to be a Jewish child in Italy at the beginning of the century?" Carla Pekelis asks herself. "As a matter of fact, nothing, absolutely nothing!" But shortly, as fascism began its march through her homeland and racial laws slowly constricted her world, Carla would learn that being a Jew in Italy might indeed have a profound meaning and dire consequences. Her recollections form an absorbing, nuanced portrait of a life transformed, and a world transfigured, by the relentless currents of history.

The disquieting novel How to Quiet a Vampire is a rumination on terror and intellect in the tradition of Joseph Heller and George Steiner. Published to acclaim in 1977, Pekic's novel of ideas follows Konrad Rutkowski, professor of medieval history and former Gestapo officer, as he returns to the scene of his war crimes determined to renounce, or perhaps justify, his Nazi past. In a series of letters, Rutkowski lays out his ambivalent reactions to war and violence, connecting his own swirling ideas to those of the major figures of European thought: Plato, St. Augustine, Descartes, Nietzsche, Freud, and others.

Delving far deeper than mere intellect, however, Borislav Pekic was himself a frequent political agitator and occasional prisoner, and he drew on his first hand knowledge of police methods and life under totalitarianism to paint a chilling portrait of a supposedly free-thinking intellectual acting in the service of repression. At the same time he questions whether Rutkowski's ideology puts him outside the philosophical tradition he so admires—or if the line separating European thought from totalitarianism is not as clear as we like to think.

Originally published in 1975, The Apology and the Last Days is the final volume in a trilogy of novels—also including The Rise and Fall of Icarus Gubelkian and How to Quiet a Vampire—about the aftermath of World War II, by Borislav Pekić, one of the former Yugoslavia’s most important postwar writers. The narrator tells his story from prison, where he is serving time for the murder of a former Nazi official. As the novel unfolds, we learn that the victim was the same person whom the narrator, while a lifeguard during the war, saved from drowning, thus making him vulnerable to charges of collaboration. In this tragicomic tale, Pekić explores eternal questions of fate and individual responsibility.

Although Emmanuel Levinas is widely respected as one of the classic thinkers of our century, the debate about his place within Continental philosophy continues. In Beyond: The Philosophy of Emmanuel Levinas, Adriaan Theodoor Peperzak shows Levinas's thought to be a persistent attempt to point beyond the borders of an economy where orderly interests and ways of reasoning make us feel at home--beyond the world of needs, beyond the self, beyond politics and administration, beyond logic and ontology, even beyond freedom and autonomy.

Peperzak's examination begins with a general overview of Levinas's life and thought, and shows how issues of ethics, politics, and religion are intertwined in Levinas's philosophy. Peperzak also discusses the development of Levinas's relations with Husserl and Heidegger, demonstrating thematically the evolution of both Levinas's anti-Heideggerian view of technology and his critical attitude toward nature.

Assembling Ethnicities in Neoliberal Times: Ethnographic Fictions and Sri Lanka’s War argues that the bloody war fought between the Sri Lankan state and the separatist Tamil Tigers from 1983 to 2009 should be understood as structured and animated by the forces of global capitalism. Using Aihwa Ong’s theorization of neoliberalism as a mobile technology and assemblage, this book explores how contemporary globalization has exacerbated forces of nationalism and racism.

Nimanthi Perera-Rajasingham finds that ethnographic fictions have both internalized certain colonial Orientalist impulses and critically engaged with categories of objective gazing, empiricism, and temporal distancing. She demonstrates that such fictions take seriously the task of bearing witness and documenting the complex productions of ethnic identities and the devastations wrought by warfare. To this end, Assembling Ethnicities
explores colonial-era travel writing by Robert Knox (1681) and Leonard Woolf (1913); contemporary works by Michael Ondaatje, Romesh Gunesekera, Shobasakthi, Dharmasiri Bandaranayake, and Thamotharampillai Shanaathanan; and cultural festivals and theater, including vernacular performances of Euripides’s The Trojan Women and women workers’ theater. 

The book interprets contemporary fictions to unpack neoliberalism’s entanglements with nationalism and racism, engaging current issues such as human rights, the pastoral, Tamil militancy, immigrant lives, feminism and nationalism, and postwar developmentalism.

Must poetic form be, as Yeats demanded, "full, sphere-like, single," or can it accommodate the impurities Yeats and his Modernist generation found so problematic? Sixty years later, these are still open questions, questions Marjorie Perloff addresses in these essays.

In Poetic License, Marjorie Perloff insists that despite the recent interest in "opening up the canon," our understanding of poetry and poetics is all too often rutted in conventional notions of the lyric that shed little light on what poets and artists are actually doing today. On topics ranging from general problems of canonicity to the critical evaluation of such poets as Plath, Ginsberg, and others, Perloff introduces nonconventional ideas of the nature of poetic texts and reframes the discussion of postmodern "paratexts." Her discussion reformulates basic presuppositions of what poetry is and what it can do and leads us to see the great possibilities still open to lyric poetry at a time when, as Yeats predicted, "the center cannot hold."

In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century.

The fourteen essays that make up this collection have as their common theme a reconsideration of the role historical and cultural change has played in the evolution of twentieth-century poetry and poetics. Committed to the notion that, in John Ashbery's words, "You can't say it that way anymore," Poetry On & Off the Page describes the formations and transformations of literary and artistic discourses, and traces these discourses as they have evolved in their dialogue with history, culture, and society. The volume is testimony to the important role that contemporary artistic practice will continue to play as we move into the twenty-first century.

Feeling Faint is a book about human consciousness in its most basic sense: the awareness, at any given moment, that we live and feel. Such awareness, it argues, is distinct from the categories of selfhood  to which it is often assimilated, and can only be uncovered at the margins of first-person experience. What would it mean to be conscious without being a first person—to be conscious in the absence of a self? 

Such a phenomenon, subsequently obscured by the Enlightenment identification of consciousness and personal identity, is what we discover in scenes of swooning from the Renaissance: consciousness without self, consciousness reconceived as what Fredric Jameson calls "a registering apparatus for transformed states of being." Where the early modern period has often been seen in terms of the rise of self-aware subjectivity, Feeling Faint argues that swoons, faints, and trances allow us to conceive of Renaissance subjectivity in a different guise: as the capacity of the senses and passions to experience, regulate, and respond to their own activity without the intervention of first-person awareness. 

In readings of Renaissance authors ranging from Montaigne to Shakespeare, Pertile shows how self-loss affords embodied consciousness an experience of itself in a moment of intimate vitality which precedes awareness of specific objects or thoughts—an experience with which we are all familiar, and yet which is tantalizingly difficult to pin down.
 

In The Written World: Space, Literature, and the Chorological Imagination in Early Modern France, Jeffrey N. Peters argues that geographic space may be understood as a foundational, originating principle of literary creation. By way of an innovative reading of chora, a concept developed by Plato in the Timaeus and often construed by philosophical tradition as “space,” Peters shows that canonical literary works of the French seventeenth century are guided by what he calls a “chorological” approach to artistic invention. The chorological imagination describes the poetic as a cosmological event that gives location to—or, more accurately, in Plato’s terms, receives—the world as an object of thought.
 
In analyses of well-known authors such as Corneille, Molière, Racine, and Madame de Lafayette, Peters demonstrates that the apparent absence of physical space in seventeenth-century literary depiction indicates a subtle engagement with, rather than a rejection of, evolving principles of cosmological understanding. Space is not absent in these works so much as transformed in keeping with contemporaneous developments in early modern natural philosophy. The Written World will appeal to philosophers of literature and literary theorists as well as scholars of early modern Europe and historians of science and geography

Link Williams is a handsome and brilliant Dartmouth graduate who tends bar due to the lack of better opportunities for an African American man in a staid mid-century Connecticut town. The routine of Link’s life is interrupted when he intervenes to save a woman from a late-night attack. Drinking in a bar together after the incident, “Camilo” discovers that her rescuer is African American and he learns that she is white. Unbeknownst to him, “Camilo” (actually Camilla Treadway Sheffield) is a wealthy married woman who has crossed the town’s racial divide to relieve the tedium of her life. Thus brought together by chance, Link and Camilla draw each other into furtive encounters that violate the rigid and uncompromising social codes of their own town and times.
 
As The Narrows sweeps ahead to its shattering denouement, Petry shines a harsh yet richly truthful light on the deforming harm that race and class wreak on human lives. In a fascinating introduction to this new edition, Keith Clark discusses the prescience with which Petry chronicled the ways tabloid journalism, smug elitism, and mob mentality distort and demonize African American men.
 

Originally published in 1947, Ann Petry’s classic Country Place depicts a predominantly white community disillusioned by the indignities and corruption of small-town life.

Johnnie Roane returns from four years of military service in World War II to his wife, Glory. They had been married just a year when he left Lennox, Connecticut, where both their families live and work. In his taxi ride home, Johnnie receives foreboding hints that all has not been well in his absence. Eager to mend his fraying marriage, Johnnie attempts to cajole Glory to recommit to their life together. But something sinister has taken place during the intervening years—an infidelity that has not gone unnoticed in the superficially placid New England town.

Accompanied by a new foreword from Farah Jasmine Griffin on the enduring legacy of Petry’s oeuvre, Country Place complicates and builds on the legacy of a literary celebrity and one of the foremost African American writers of her time.
 

A young black girl watches as her aunt’s multiple suitors disrupt her  family’s privacy. The same girl, now on the cusp of adulthood, shares her family’s growing fears that her father has disappeared. Acclaimed author Ann Petry penned these and the other unforgettable narratives in Miss Muriel and Other Stories more than seventy years ago, yet in them contemporary readers recognize characters who exist today and dilemmas that recur again and again: the reluctance of African Americans to seek help from the police, the rage that erupts in a black man worn down by brutality, the tyranny that the young can visit on their elders regardless of race. Originally published between 1945 and 1971, Petry’s stories capture the essence of African American experience since the 1940s.

Films provide valuable spaces for aesthetic experimentation and analysis, for cinema's openness to other media has always allowed it to expand its own. In Aesthetic Spaces, Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself. 

The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, Éric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-scène from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles—space, spectator, frame, color and lighting, props, décor, and actor—that shape films.

Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.
 

Trixy is a 1904 novel by the best-selling but largely forgotten American author and women’s rights activist Elizabeth Stuart Phelps. The book decries the then common practice of vivisection, or scientific experiments on live animals. In Trixy, contemporary readers can trace the roots of the early animal rights movement in Phelps’s influential campaign to introduce legislation to regulate or end this practice. Phelps not only presents a narrative polemic against the cruelty of vivisection but argues that training young doctors in it makes them bad physicians. Emily E. VanDette’s introduction demonstrates that Phelps’s protest writing, which included fiction, pamphlets, essays, and speeches, was well ahead of its time.

Though not well known today, Phelps’s 1868 spiritualist novel, The Gates Ajar, which offered a comforting view of the afterlife to readers traumatized by the Civil War, was the century’s second best-selling American novel, surpassed only by Uncle Tom’s Cabin. Recently scholars and readers have begun to reexamine Phelps’s significance. As contemporary authors, including Peter Singer, Jonathan Safran Foer, Donna J. Haraway, Gary L. Francione, and Carol J. Adams, have extended her vision, they have also created new audiences for her work.

From Litchfield's great church stove war to Hartford's Charter Oak to Stonington's infamous Lantern Hill, these traditional tales from the Nutmeg State span four centuries of Connecticut history. Personal legends, narratives, anecdotes, and supernatural stories—all are fascinating, humorous and rich with the history and lore of the land.

In this highly original interdisciplinary study incorporating close readings of literary texts and philosophical argumentation, Henry W. Pickford develops a theory of meaning and expression in art intended to counter the meaning skepticism most commonly associated with the theories of Jacques Derrida.

Pickford arrives at his theory by drawing on the writings of Wittgenstein to develop and modify the insights of Tolstoy’s philosophy of art. Pickford shows how Tolstoy’s encounter with Schopenhauer’s thought on the one hand provided support for his ethical views but on the other hand presented a problem, exemplified in the case of music, for his aesthetic theory, a problem that Tolstoy did not successfully resolve. Wittgenstein’s critical appreciation of Tolstoy’s thinking, however, not only recovers its viability but also constructs a formidable position within contemporary debates concerning theories of emotion, ethics, and aesthetic expression.

Pawel Kohoutek, veterinarian and womanizer, looks out the window one morning to see his mistress approaching his house. That's bad. She is hauling her suitcase (containing her books) and her backpack (containing everything else she owns). That's worse. So Kohoutek does the only thing he can: He hides his current woman in the attic of the family slaughterhouse. Farce ensues as Kohoutek attempts to hide the woman from his eccentric family, their lodgers, and various offbeat visitors. A best-seller in Jerzy Pilch's native Poland, His Current Woman is an enjoyable literary send-up of what often passes for love.

My Brother's Madness is based on the author's relationship with his brother—who had a psychotic breakdown in his late forties—and explores the unfolding of two intertwined lives and the nature of delusion. Circumstances lead one brother from juvenile crime on the streets of Brooklyn to war-torn Vietnam, to a fast-track life as a Hollywood publicist to owning and operating The Tin Palace, one of New York's most legendary jazz clubs, while his brother falls into, and fights his way back from, a delusional psychosis.

Once known only to a small circle of admirers in Russia and the West, Andrey Platonov (1899-1951) has emerged to assume his rightful place as one of the major Russian writers of the twentieth century. Set during a small Russian town during the forcible collectivization of agriculture, The Foundation Pit portrays a group of workmen and local bureaucrats engaged in digging the foundation pit for a grand building where all the town's will live happily and "in silence."

This book is a study of a Soviet cultural phenomenon of the 1950s through the 1980s known as guitar poetry—songs accompanied by guitar and considered poetry in much the same way as those of, for example, Bob Dylan. Platonov’s is the most comprehensive book in English to date to analyze guitar poetry, which has rarely received scholarly attention outside of Russia. Going well beyond the conventional, text-centered view of guitar poetry as a form of po­litical or artistic dissent, largely a function of the Cold War climate in which it began, Platonov argues for a more complex understanding of guitar poetry as a means of self-invention and community formation. Although grounded in literary studies, the book effectively brings historical, anthropological, and musicological perspectives to bear on an understudied phenomenon of the post-Stalin period.

In Political Anthropology (originally published in 1931 as Macht und menschliche Natur), Helmuth Plessner considers whether politics—conceived as the struggle for power between groups, nations, and states—belongs to the essence of the human. Building on and complementing ideas from his Levels of the Organic and the Human (1928), Plessner proposes a genealogy of political life and outlines an anthropological foundation of the political. In critical dialogue with thinkers such as Carl Schmitt, Eric Voegelin, and Martin Heidegger, Plessner argues that the political relationships cultures entertain with one other, their struggle for acknowledgement and assertion, are expressions of certain possibilities of the openness and unfathomability of the human. 

Translated into English for the first time, and accompanied by an introduction and an epilogue that situate Plessner's thinking both within the context of Weimar-era German political and social thought and within current debates, this succinct book should be of great interest to philosophers, political theorists, and sociologists interested in questions of power and the foundations of the political.
 

In perhaps the most provocative reading to date of the Swiss German modernist Robert Walser, Walter Benjamin asserted that Walser's figures "have all been healed." They Have All Been Healed takes up and extends Benjamin's assessment by following the figure of healing throughout major works by Walser, from his minidrama Snow White and his acknowledged masterpieces The Walk and Jakob von Gunten to his enigmatic last novel, The Robber. At the same time, Jan Plug reads Walser alongside his most compelling readers, tracing how not only Benjamin but also Giorgio Agamben, W. G. Sebald, and the Brothers Quay complicate, clarify, and enact that same process of healing in their own work. Working out the theological implications of Walser's work and of the tradition to which he gives rise, Plug at once recasts one of the major authors of the twentieth century and articulates a new conception of healing and salvation.

Winner, 2006 The American Lawyer Lifetime Achievement Award

On his thirty-ninth birthday in 1966, Alexander Polikoff, a volunteer ACLU attorney and partner in a Chicago law firm, met some friends to discuss a pro bono case. Over lunch, the four talked about the Chicago Housing Authority construction program. All the new public housing, it seemed, was going into black neighborhoods. If discrimination was prohibited in public schools, wasn't it also prohibited in public housing?

And so began Gautreaux v. CHA and HUD, a case that from its rocky beginnings would roll on year after year, decade after decade, carrying Polikoff and his colleagues to the nation's Supreme Court (to face then-solicitor general Robert Bork); establishing precedents for suits against the discriminatory policies of local housing authorities, often abetted by HUD; and setting the stage for a nationwide experiment aimed at ending the concentration--and racialization--of poverty through public housing. Sometimes Kafkaesque, sometimes simply inspiring, and never less than absorbing, the story of Gautreaux, told by its principal lawyer, moves with ease through local and national civil rights history, legal details, political matters, and the personal costs--and rewards--of a commitment to fairness, equality, and justice. Both the memoir of a dedicated lawyer, and the narrative of a tenacious pursuit of equality, this story--itself a critical, still-unfolding chapter in recent American history--urges us to take an essential step in ending the racial inequality that Alexis de Toqueville prophetically named America's "most formidable evil."

Anzhelina Polonskaya is considered one of the freshest voices among young Russian poets. Unlike most of her contemporaries, she was not educated in the classic literary tradition, nor nurtured by the well-known Moscow and Petersburg journals. This has freed her from self-consciously struggling under the weight of her country's literary tradition, and her independent, even idiosyncratic, voice informs poems filled with sharp images, acute observations, and both the pains and joys of personal experience.

Drawn from her most recent Russian collections, A Voice: Selected Poems explores the poet's ongoing fascinations—desolate places, long journeys, a synesthesia of sensory stimulation, and the presence of death. Also on display is her Chekhovian gift for unexpected closure. This is a promising English-language debut from a poet already gaining international attention.

Originally published as O Ateneu in 1888, The Athenaeum is a classic of Brazilian literature, here translated into English in its entirety for the first time. The first-person narrator, Sergio, looks back to his time at the eponymous boarding school, with its au­tocratic principal and terrifying student body. Sergio’s account of his humiliating experiences as a student, with its frank discus­sion of corruption and homoerotic bullying, makes it clear that his school is structured and administered so as to reproduce the class divisions and power structure of the larger Brazilian society.

In its muckraking mode, the novel is in the spirit of Natural­ism, imported from France and well-acclimated to Brazil, where it blossomed. At the same time, Pompéia maintains the novel’s credibility as a bildungsroman by portraying the narrator’s psy­chological development. The novel’s conclusion suggests both a doomed society and its possible redemption, indicative of a mo­ment of upheaval and transition in Brazilian history.

Economies of Feeling offers new explanations for the fantastical plots of mad or blocked ambition that set the nineteenth-century Russian prose tradition in motion. Jillian Porter compares the conceptual history of social ambition in post-Napoleonic France and post-Decembrist Russia and argues that the dissonance between foreign and domestic understandings of this economic passion shaped the literature of Nicholas I’s reign (1825 —1855).
 
Porter shows how, for Pushkin, Gogol, Dostoevsky, and Faddei Bulgarin, ambition became a staging ground for experiments with transnational literary exchange. In its encounters with the celebrated Russian cultural value of hospitality and the age-old vice of miserliness, ambition appears both timely and anachronistic, suspiciously foreign and disturbingly Russian—it challenges readers to question the equivalence of local and imported words, feelings, and forms.
 
Economies of Feeling examines founding texts of nineteenth-century Russian prose alongside nonliterary materials from which they drew energy—from French clinical diagnoses of “ambitious monomania” to the various types of currency that proliferated under Nicholas I. It thus contributes fresh and fascinating insights into Russian characters’ impulses to attain rank and to squander, counterfeit, and hoard. Porter’s interdisciplinary approach will appeal to scholars of comparative as well as Russian literature.
 

The Blackademic Life critically examines academic fiction produced by black writers. Lavelle Porter evaluates the depiction of academic and campus life in literature as a space for black writers to produce counternarratives that celebrate black intelligence and argue for the importance of higher education, particularly in the humanistic tradition. Beginning with an examination of W. E. B. Du Bois’s creative writing as the source of the first black academic novels, Porter looks at the fictional representations of black intellectual life and the expectations that are placed on faculty and students to be racial representatives and spokespersons, whether or not they ever intended to be. The final chapter examines blackademics on stage and screen, including in the 2014 film Dear White People and the groundbreaking television series A Different World.

Finalist, 2017 Theatre Library Association George Freedley Memorial Award
Shortlist, 2019 Prague Quadrennial Best Scenography and Design Publication Award

The Director's Prism investigates how and why three of Russia's most innovative directors— Vsevolod Meyerhold, Alexander Tairov, and Sergei Eisenstein—used the fantastical tales of German Romantic writer E. T. A. Hoffmann to reinvent the rules of theatrical practice. Because the rise of the director and the Russian cult of Hoffmann closely coincided, Posner argues, many characteristics we associate with avant-garde theater—subjective perspective, breaking through the fourth wall, activating the spectator as a co-creator—become uniquely legible in the context of this engagement. Posner examines the artistic poetics of Meyerhold's grotesque, Tairov's mime-drama, and Eisenstein's theatrical attraction through production analyses, based on extensive archival research, that challenge the notion of theater as a mirror to life, instead viewing the director as a prism through whom life is refracted. A resource for scholars and practitioners alike, this groundbreaking study provides a fresh, provocative perspective on experimental theater, intercultural borrowings, and the nature of the creative process.

Mikhail Lermontov (1814-1841) is one of Russia's most prominent poets--and one of its most puzzling. In this radically new interpretation, David Powelstock reveals how the seeming contradictions in Lermontov's life and works can be understood as manifestations of a coherent worldview.

By bringing to light Lermontov's operative version of Romantic individualism, Powelstock is able to make sense of the poet's relationship to "romantic irony," his highly modern concept of the reader (both real, and implied in the text), and his vexed passion for his predecessor Alexander Pushkin--a relationship that is almost always treated sentimentally, but is here given its true competitive edge. Furthermore, Powelstock offers the most persuasive account ever given of Lermontov's exceptionally odd treatment of, and success with, women--both in real life and in fiction--and of his cruel overlapping of these two planes.

Clarifying what has remained perplexing for so long, and correcting what has been misinterpreted, Powelstock's work illuminates Lermontov's views of dignity, death, love, nature, society, and ethics--and, finally, gives us an intellectual biography that is deeper and more subtle than any written before.

At the end of June 1941, Latvia fell into the hands of the Germans. This book is an account of life and death during the subsequent Nazi reign of terror. Press describes his escape from the Riga ghetto, his three years in hiding, and the trials that awaited the surviving Jews of Riga after it was "liberated" by the Red Army. Recounting his own harrowing experience and detailing the plight of Eastern European Jews faced with the anti-Semitism of their homelands, the Germans, and the Soviets, Press recovers a lost chapter in the history of the Holocaust.

Appalachian genderqueer punk writer C. Russell Price’s first full-length poetry collection is a somatic grimoire exploring desire, gender, and sexuality in multiverse littered with flowers and product placement. Part pop culture bubblegum lip smack, part battle cry, this collection asks, What is radical vengeance, and does true survivorship from sexual trauma exist only in fantasy, or is it an attainable reality?
 
Price’s cinematic approach to language and scene is on full display, as well as their dark humor and resilience. Within these pages, the surreal is familiar and grief is a national pastime. If the end is near, who among us would not put on Fleetwood Mac? Who would not clean up their eyeliner just a smidge? This collection pulses with the beat that follows destruction (whether human or natural), the moment the jaw unhinges. These poems are not for pearl clutchers. They are for those who have already felt their private apocalypse.

Northwestern University: A History is a resplendent guide to the origins and development of this university. Writer and critic Jay Pridmore offers the definitive chronicle of Northwestern’s establishment—from its founders’ struggle to erect a campus in the wilderness on Lake Michigan’s western shore to its contemporary status as “an institution of the highest order” with three thriving campuses, esteemed faculty and students, and a leading endowment.

Accompanied by a wealth of color photographs, ephemera, and archival material, Northwestern University: A History brings to the fore the storied traditions and contributions of the administrators, faculty, and alumni who built Northwestern into the world-class institution it is today. 

Originally penned to commemorate the university’s sesquicentennial, this new edition charts Northwestern’s evolution in the years of Henry Bienen’s presidency (1995–2009) and offers a new foreword by current president Morton O. Schapiro. Northwestern University: A History captures the rich panoply of the institution’s rise to the first ranks of scholastic excellence and will delight students, their families, and alumni alike. 

Science and the Humanities contains five lectures concerning the discussion of the relation of science and the humanities, focusing on the work of thinkers such as James B. Conant and C. P. Snow. 

This is the first English-language collection of stories by the nineteenth-century writer Boleslaw Prus, who has been called the greatest Polish novelist of all time. This new book, containing twelve of his classic short pieces, explores the depth of thought, human warmth, powers of observation, and technical excellence for which he has been justly praised.

This bold book investigates how performance can transform the way people perceive trauma and memory, time and history. Jaclyn I. Pryor introduces the concept of "time slips," moments in which past, present, and future coincide, moments that challenge American narratives of racial and sexual citizenship.
 

Framing performance as a site of resistance, Pryor analyzes their own work and that of four other queer artists—Ann Carlson, Mary Ellen Strom, Peggy Shaw, and Lisa Kron—between 2001 and 2016. Pryor illuminates how each artist deploys performance as a tool to render history visible, trauma recognizable, and transformation possible by laying bare the histories and ongoing systems of violence woven deep into our society. Pryor also includes a case study that examines the challenges of teaching queer time and queer performance within the academy in what Pryor calls a post-9/11 “homeland” security state.
 
Masterfully synthesizing a wealth of research and experiences, Time Slips will interest scholars and readers in the fields of theater and performance studies, queer studies, and American studies.

Stanislawa Przybyszewski is recognized as a major twentieth-century playwright on the basis of her trilogy about the French Revolution, of which The Danton Case and Thermidor are the principal parts. The Danton Case depicts the battle for power between two exceptional individuals: the corrupt sentimental idealist, Danton, and the incorruptible genius of the Revolution, Robespierre. Thermidor shows the final playing out of this drama, as Robespierre, left alone with the heroic absolutist Saint-Just, foresees the ruin of himself and his cause, and in his despair predicts that hatred, war, and capitalism will steal the Revolution and corrupt nineteenth-century man.

Complex and focused, this collection of poems moves along the line between waking and sleeping to reveal a narrator who is contemplating her origins as well as her future. Pugh frequently turns in her work to the image of a bed--as a source of comfort, an erotic landing, and a place for dreaming. For Pugh, dreams both obscure and reveal, their language a code to be analyzed, as in her longer meditation inspired by Freud's case history "Dora." After dipping dangerously far into dreams, Pugh's poems return to a world of activity, full of physicality before becoming calm. At the end of the book, the self is restored and can see the world through a newly formed lens taken from its dreams.

Being and God argues that defensible philosophical theorization concerning the topic “God” is both possible and necessary within the framework of an adequate systematic philosophy—which must include a theory of Being—but is not possible in the absence of such a framework. The book provides critiques of philosophical approaches to this topic that have not relied on such frameworks; targets include the most important and influential treatments presented by historical, contemporary analytic, and contemporary continental philosophers. The book also further develops the systematic framework presented in Puntel’s Structure and Being (2008), extending a line of argumentation to show that the absolutely necessary dimension of Being is, when more fully explicated, appropriately named “God.”

The turn to political concerns in Renaissance studies, beginning in the 1980s, was dictated by forms of cultural materialism that staked their claims against the aesthetic dimension of the work. Recently, however, the more robustly political conception of the aesthetic formulated by theorists such as Theodor Adorno and Jacques Rancière has revitalized literary analysis generally and early modern studies in particular. For these theorists, aesthetics forms the crucial link between politics and the most fundamental phenomenological organization of the world, what Rancière terms the “distribution of the sensible.”

Taking up this expansive conception of aesthetics, Political Aesthetics in the Era of Shakespeare suggests that the political stakes of the literary work—and Shakespeare’s work in particular—extend from the most intimate dimensions of affective response to the problem of the grounds of political society. The approaches to aesthetic thought included in this volume explore the intersections between the literary work and the full range of concerns animating the field today: political philosophy, affect theory, and ecocritical analysis of environs and habitus.