A SCHOLARLY BOOK REPOSITORY182 start with S start with S
Thinking about Shakespeare and secularization also involves thinking about how to interpret history and temporality in the contexts of Shakespeare’s medieval past, the religious reformations of the sixteenth century, and the critical dispositions that define Shakespeare studies today. These essays reject a necessary opposition between “sacred” and “secular” and instead analyze how such categories intersect. In fresh analyses of plays ranging from Hamlet and The Tempest to All’s Well that Ends Well and All Is True, secularization emerges as an interpretive act that explores the cultural protocols of representation within both Shakespeare’s plays and the critical domains in which they are studied and taught.
The volume’s diverse disciplinary perspectives and theoretical approaches shift our focus from literal religion and doctrinal issues to such aspects of early modern culture as theatrical performance, geography, race, architecture, music, and the visual arts.
Sacred Ground opens in 1919, during the summer of the Chicago race riot, when infant Black and his family arrive in Chicago from Birmingham, Alabama, as part of the first Great Migration. He recounts in vivid detail his childhood and education in the Black Metropolis of Bronzeville and South Side neighborhoods that make up his "sacred ground."
Revealing a priceless trove of experiences, memories, ideas, and opinions, Black describes how it felt to belong to this place, even when stationed in Europe during World War II. He relates how African American soldiers experienced challenges and conflicts during the war, illuminating how these struggles foreshadowed the civil rights movement. A labor organizer, educator, and activist, Black captures fascinating anecdotes and vignettes of meeting with famous figures of the times, such as Duke Ellington and Martin Luther King Jr., but also with unheralded people whose lives convey lessons about striving, uplift, and personal integrity.
Rounding out this memoir, Black reflects on the legacy of his friend and mentee, Barack Obama, as well as on his public works and enduring relationships with students, community workers, and some very influential figures in Chicago and the world.
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.
Klossowski was one of the first philosophers in postwar Europe to ask whether Sade's reason, although aberrant and perverted to evil passions, could be taken seriously. Klossowski's seminal work inspired virtually all subsequent study of Sadean thought, including that of de Beauvoir, Deleuze, Derrida, Bataille, Blanchot, Paulhan, and Lacan.
Jaan Kross's historical novel Sailing Against the Wind fictionalizes the life of Bernhard Schmidt (1879–1935), an Estonian-born inventor. Schmidt lost an arm in his youth while experimenting with a homemade rocket, resulting in psychological trauma that would plague him for the rest of his life. Largely self-taught, Schmidt was driven to seek recognition of his talents.
He moved to Germany in the 1930s, where, after perfecting techniques for polishing lenses, he began developing ideas for improving astronomical telescopes. He was arrested for selling one to the Russians, and although he got off with only a warning, he later suffered a breakdown and was sent to a mental hospital, where he soon died. Sailing Against the Wind becomes a meditation on national identity, the relationship between history and the individual life, and the mechanisms of the historical novel as a genre.
Throughout it insistently interrogates what it means to reach for our humanity through the guises of nation, race, and gender. Oka’s language transports us through the many bodies of fluid poetics that inhabit our migrating senses and permeate across generations into a personal diaspora. Salvage invites us to be without borders.
The energy of Olsen’s poems is generated by his ability to meld the intellectual and the emotional, the abstract and the concrete, into a seamless whole while maintaining a sense of wit and playfulness. Sand Theory cements Olsen’s standing as one of the most vital poets writing today, an audacious chronicler of “the supremely open moment.”
Part memoir, part literary criticism, part culinary and aesthetic travelogue, this loving reflection is a poignant, funny narrative about an American professor spending a year in Rome. A scarred veteran of academic culture wars retreating to a cradle of culture, Barkan is at first hungry, lonely, and uncertain of his intellectual mission. But soon he is appointed unofficial mascot of an eccentric community of gastronomes, becomes virtually bilingual, and falls in love. As the year progresses, he finds his voice as a writer, loses his lover, and definitively returns to America with heart, mind, and body. His memoir is the celebration of a life lived in the uncanny spaces where art and real people intersect.
Barkan’s reminiscence is not just about the Renaissance and ancient statuary, or Shakespeare and Mozart, Charles Bukowski and Paul de Man, eggplant antipasto and Brunello di Montalcino, foot fetishism and sulfur baths. At the heart of the narrative—beneath that beguiling surface of irony, humor, and misdirection—is a man of genuine ardor, struggling with what it means to be a homosexual and a Jew, trying to rediscover or reinvent his own intellectual passions. Hilarious, erudite, and lusciously rendered, Satyr Square gives us the whole of a life made up from fragments of Italy, art, food, and longing.
Bloom is indeed a party of one, a truly strong poet of his own mode of religious-literary criticism, who, in a typically Emersonian manner, makes his own circumstances and sheds influences by incorporating them into his idiosyncratic theory.In this unprecedented full-length study on Harold Bloom, Agata Bielik-Robson explores the many facets of Bloom’s critical writings and career. In his work, she argues, Bloom draws on a variety of disparate traditions—Judaism, gnosis, Romanticism, American pragmatism, and Freudianism, but also, especially recently, Victorian aestheticism—that comprise a dialectical, difficult whole in a constant quarrel with itself. Yet, this is precisely the image of "life-in-antithesis," which constitutes Bloom’s highest speculative achievement, she observes. The Saving Lie brings all these "Blooms" together and, despite their own tendencies toward dissociation, lets them speak unisono: in one almost harmonious voice that will clearly utter the principles of a new speculative position—Bloom’s antithetical vitalism. This study of Bloom and his contributions will not soon be surpassed.
Walter Benjamin and Theodor Adorno both turned to canonical literary narratives to determine why the Enlightenment project was derailed and how this failure might be remedied. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. Márton Dornbach’s groundbreaking book reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School.
At the heart of Dornbach’s argument is a critical model that Benjamin built around the concept of caesura, a model Adorno subsequently reworked. Countering an obscurantism that would become complicit in the rise of fascism, the two theorists aligned moments of arrest in narratives mired in unreason. Although this model responded to a specific historical emergency, it can be adapted to identify utopian impulses in a variety of works.
The Saving Line throws fresh light on the intellectual exchange and disagreements between Benjamin and Adorno, the problematic conjunction of secular reason and negative theology in their thinking, and their appropriations of ancient and modern legacies. It will interest scholars of philosophy and literature, critical theory, German Jewish thought, classical reception studies, and narratology.
The first collection of Eugene T. Gendlin’s groundbreaking essays in philosophical psychology, Saying What We Mean casts familiar areas of human experience, such as language and feeling, in a radically different light. Instead of the familiar scientific emphasis on what is conceptually explicit, Gendlin shows that the implicit also comprises a structure that can be made available for recognition and analysis.
Developing the traditions of phenomenology, existentialism, and pragmatism, Gendlin forges a new path that synthesizes contemporary evolutionary theory, cognitive psychology, and philosophical linguistics.
It’s all about disappearance.
About a bird in a cage
with a mirror, a simple twist
on the handle at the side
that makes it come and go
at the magician’s insistence.
It’s all about innocence.
It’s all about acceptance.
It’s all about compliance.
It’s all about deference.
It’s all about silence.
It’s all about disappearance.
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.
Winner, 2020 American Educational Studies Association Critics' Choice Award
As battles over school desegregation helped define a generation of civil rights activism in the United States, a less heralded yet equally important movement emerged in Chicago. Following World War II, an unprecedented number of African Americans looked beyond the issue of racial integration by creating their own schools. This golden age of private education gave African Americans unparalleled autonomy to avoid discriminatory public schools and to teach their children in the best ways they saw fit. In Schools of Our Own, Worth Kamili Hayes recounts how a diverse contingent of educators, nuns, and political activists embraced institution building as the most effective means to attain quality education. Schools of Our Own makes a fascinating addition to scholarly debates about education, segregation, African American history, and Chicago, still relevant in contemporary discussions about the fate of American public schooling.
Winner of the PEN/Book-of-the-Month Club Translation Prize
Winner of the Anne Frank Prize
These shattering stories describe the lives of ordinary people as they are compelled to do the unimaginable: a couple who must decide what to do with their five-year-old daughter as the Gestapo come to march them out of town; a wife whose safety depends on her acquiescence in her husband's love affair; a girl who must pay a grim price for an Aryan identity card.
Screening Auschwitz examines the classic Polish Holocaust film The Last Stage (Ostatni etap), directed by the Auschwitz survivor Wanda Jakubowska (1907–1998). Released in 1948, The Last Stage was a pioneering work and the first narrative film to portray the Nazi concentration and extermination camp complex of Auschwitz-Birkenau. Marek Haltof’s fascinating book offers English-speaking readers a wealth of new materials, mostly from original Polish sources obtained through extensive archival research.
With its powerful dramatization of the camp experience, The Last Stage established several quasi-documentary themes easily discernible in later film narratives of the Shoah: dark, realistic images of the camp, a passionate moral appeal, and clear divisions between victims and perpetrators. Jakubowska’s film introduced images that are now archetypal—for example, morning and evening roll calls on the Appelplatz, the arrival of transport trains at Birkenau, the separation of families upon arrival, and tracking shots over the belongings left behind by those who were gassed. These and other images are taken up by a number of subsequent American films, including George Stevens’s The Diary of Anne Frank (1959), Alan Pakula’s Sophie’s Choice (1982), and Steven Spielberg’s Schindler’s List (1993).
Haltof discusses the unusual circumstances that surrounded the film's production on location at Auschwitz-Birkenau and summarizes critical debates surrounding the film’s release. The book offers much of interest to film historians and readers interested in the Holocaust.
In A Search for Clarity, Jean‑Claude Milner argues that although Jacques Lacan’s writing is notoriously obscure his oeuvre is entirely clear. In a discussion that considers the difference between the esoteric and exoteric works of Plato and Aristotle, Milner argues that Lacan’s oeuvre is to be found in his published writings alone, not his transcribed seminars, and that these published writings contain his official doctrine. Thus, Lacan’s oeuvre is already complete, even though many of his seminars remain unpublished.
According to Milner, Lacan’s fundamental idea is that the subject psychoanalysis works on is the subject of science. Milner suggests that this is a supplement to Alexandre Koyré’s and Alexandre Kojève’s accounts of modern science, for which mathematization and a break from the ancient episteme were key.
A Search for Clarity is the definitive statement on how Lacan viewed the relationship between psychoanalysis and science, and on how Lacan’s thinking evolved as he struggled to draw out the consequences of the equation he posited between psychoanalysis and science. Milner’s work on Lacan has been essential reading in French for decades. This English translation will make his illuminating work accessible to a broader audience.
Muharem Bazdulj has broken from the pack of new Eastern European writers influenced by innovators such as Danilo Kiš, Milan Kundera, and Jorge Luis Borges. Employing a light touch, a daring anti-nationalist tone, and the kind of ambition that inspires nothing less than a rewriting of Bosnian and Yugoslavian history, Bazdulj weaves the imagined realities of history into fiction and fiction into history. To quote one critic, for Bazdulj history "is the sum of interpretations while imagination is the sum of facts."
The Second City Almanac of Improvisation - like the theatre itself - is a collection of diverse ideas, viewpoints, and memories, written by a vast array of teachers, actors, and directors who all got their start at the legendary comedy theatre. Fred Willard recalls his introduction to The Second City style in the mid-Sixties; Tim Kazurinsky gives a hilarious visual demonstration on the art of object work; "Saturday Night Live" star Tina Fey talks about re-improvising material as a mode of writing revue comedy; noted director Mick Napier takes on the thorny debate between long-form improvisation and short-form improvisation. Anne Libera guides the reader through each essay by providing a road map for understanding how The Second City method of improv-based comedy has become the industry standard.
Mike Nichols, Elaine May, Alan Arkin, Joan Rivers, Robert Klein, Peter Boyle, Harold Ramis, John Belushi, Dan Aykroyd, Bill Murray, John Candy, Martin Short, Gilda Radner, George Wendt, Jim Belushi, Bonnie Hunt, Mike Myers, Ryan Stiles, Rachel Dratch, Nia Vardalos - no other theatre can boast an alumni list of this magnitude. The Second City Almanac of Improvisation provides practical instruction, personal details, and inspiration to both improvisers and their fans.
Since its modest beginning in 1959, The Second City in Chicago has become a world-renowned bastion of hilarity. A training ground for many of today’s top comedic talents—including Alan Arkin, Dan Aykroyd, Stephen Colbert, Tina Fey, Bill Murray, and Amy Sedaris— it was an early blueprint for improv-based sketch revues in North America and abroad. Its immeasurable influence also extends to television, film, and the Broadway stage. Mike Thomas interviewed scores of key figures who have contributed to Second City’s vast legacy —its stars as well as those who worked and continue to work behind the scenes—to create this entertaining and informative oral history. The story is equal parts legendary highlights, gossip, and insight into how the theater’s brand of comedy was and is created. Unprecedented in scope and rife with colorful tales well told, The Second City Unscripted is an essential account of this iconic show business institution.
The Second Scroll, Klein’s only novel, combines the lyric genius of his poetic works with compelling reportage to create one of the most eloquent and original works in Canadian fiction.
Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies.
In David Barber’s third collection of poetry, the past makes its presence felt from first to last. Drawing on a wealth of eclectic sources and crafted in an array of nonce forms, these poems range across vast stretches of cultural and natural history in pursuit of the forsaken, long-gone, and unsung.
Here is the stuff of lost time unearthed from all over: ballyhoo and murder ballad, the lacrimarium and the xylotheque, the Game of Robbers and the Indian Rope Trick, the obsolete o’o, the old-school word hoard, sunshowers and beaters and breaker boys. Here, to mark the twilight of print and type, are gleanings and borrowings from a mixed bag of throwback bound volumes: The Magic Moving Picture Book, Mandeville’s Travels, The Golden Bough, Franklin Arithmetic, The Millennial Laws of the Shakers, A Conjuror’s Confessions.
Here too are guiding spirits whose like will not pass this way again: Cab Calloway at the Cotton Club; Henry Walter Bates in darkest Amazon; George Catlin among the Choctaw; Little Nemo in Slumberland; Yogi Berra in all his oracular glory. Reveling in vernacular lingo of every vintage even while brooding on dark ages without end, Secret History chronicles a world of long shadows and distant echoes that bears more than a passing resemblance to our own.
Mary Zimmerman’s The Secret in the Wings adapts a group of lesser-known fairy tales to create a theatrical work that sets their dark mystery against her signature wit and humor. The framing story concerns a child and the frightening babysitter with whom her parents leave her. As the babysitter reads from a book, the characters in each of the tales materialize, with each tale breaking off just at its bleakest moment before giving way to the next one.
The central tale is told without interruption, after which each previous tale is successively resumed, with each looming disaster averted. As in Zimmerman’s other productions, here she uses costumes, props, sets, and lighting to brilliant effect, creating images and feelings that render the fairy tales in all their elemental and enduring power.
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.
time is a bald eagle, a killer soaring high in the blue, / music to men
dodging bullets in speeding cars, / knew death, hoped it'd never come . . .
In this collection we are seduced by Troupe's opus. This is the poet's art laid bare. He is our "Eye." Visions of the transatlantic slave trade, portraits of American violence, pop culture, and historical voices are the lyrical relics in Troupe's masterful verse. One of American literature's most important rhythmical artists, Troupe has created a chronicle reaching through history for the collective "I/Eye" that is all of us.
Despite her indifference to genre, Schwartz takes a profound delight in poetic forms, appropriating the sonnet, the prose poem, and the envoi. She brings an easygoing musicality to her work, which ranges from parodic translations of Verlaine to instructions for making the perfect soup to a meditation on an Ecstasy trip. No artificial line between high and low culture divides Schwartz's world: she is equally intrigued by the metaphor of gardening, the work of artist Jenny Holzer, the bandits Frank and Jesse James (maybe distant relatives of Henry and William?), and the unintentional poetry of Craigslist's "missed connection" section.
Filled with wisdom, humor, and deep insight, See You in the Dark is poetry for readers not bounded by genre.
A poet, critic, and theoretician during the Silver Age of Russian poetry, at the turn of the twentieth century, Viacheslav Ivanov was dubbed "Viacheslav the Magnificent" by his contemporaries for his erudition, sumptuous and allusive poetry, and brilliant essays. He provided Russian Symbolism with theoretical underpinnings based on classical and biblical mythology, the aesthetics of music, philosophy ranging from Plato and Kant to Schopenhauer and Nietzsche, and a profound knowledge of classical and modern European poetry.
In choosing material for this volume of essays, Robert Bird and Michael Wachtel have covered a broad range of Ivanov's interests: the aesthetics of Symbolism, theater, culturological concerns, and on such influential figures of the period as Nietzsche, Solovyov, Tolstoy, and Scriabin. Also included are extensive notes on the essays in which classical, biblical, and poetic citations and allusions are identified, the aesthetic and theoretical contexts are clarified, and certain translation problems are briefly discussed. This volume provides valuable insight into the theory of Symbolism as it developed in Russia.
Renowned translator James Falen’s collection of 167 of Pushkin’s lyrics is arranged chronologically, beginning with verse written in the poet’s teenage years—Pushkin published his first poem at fifteen and was widely revered by his later teens—and closing with lines composed shortly before his death. As a whole, these selections reveal Pushkin's development as a poet, but they also capture the wide range of subjects and styles in Pushkin’s poetry.
Spanning the 1940s to the 1960s, the plays collected here are the ones Childress herself believed were her best, and offer a realistic portrait of the racial inequalities and social injustices that characterized these decades. Her plays often feature strong-willed female protagonists whose problems bring into harsh relief the restrictions faced by African American women. This is the first volume devoted exclusively to the work of a major playwright whose impact on the American theater was profound and lasting.
As a contribution to the current philosophical debate concerning self-awareness, the book presents a comprehensive reconstruction of Husserl’s theory of pre-reflective self-awareness, thereby criticizing a number of prevalent interpretations. In addition, Zahavi also offers a systematic discussion of a number of phenomenological insights related to the issue of self-awareness, including analyses of the temporal, intentional, reflexive, bodily, and social nature of the self.
The new edition of this prize-winning book has been updated and revised, and all quotations have been translated into English. It also contains a new preface in which Zahavi traces the developments of the debates around self-awareness over the last twenty years and situates this book in the context of his subsequent work.
In the rigorous and highly original Self-Awareness and Alterity, Dan Zahavi provides a sustained argument that phenomenology, especially in its Husserlian version, can contribute something decisive to the analysis of self-awareness. Taking on recent discussions within both analytical philosophy (Shoemaker, Castaneda, Nagel) and contemporary German philosophy (Henrich, Frank, Tugendhat), Zahavi argues that the phenomenological tradition has much more to offer when it comes to the problem of self-awareness than is normally assumed. As a contribution to the current philosophical debate concerning self-awareness, the book presents a comprehensive reconstruction of Husserl's theory of pre-reflective self-awareness, thereby criticizing a number of prevalent interpretations and a systematic discussion of a number of phenomenological insights related to this issue, including analyses of the temporal, intentional, reflexive, bodily, and social nature of the self.
Pamela White Hadas won enthusiastic recognition for her early books of poetry, Designing Women and Beside Herself. In Self-Evidence, she selects the best of her published work and combines it with poems never before collected. This collection contains legendary, mythic, historical, and imaginary characters--Lilith, Pocahontas, Simone Weil, the wives of Watergate, a circus performer, and others. With playful originality and virtuoso voicing, Hadas weaves breathtaking tapestries of women's loves and labors.
As with her previous collections, the poems in Self/Pity can be read as a cohesive whole.
From the simple prayer "To Jacob Four Months In The Womb" to the complex territory of the poem sequence "The Pornography of Pity," in which Mother Goose, the Marquis de Sade, Godot, Lewis Carroll's Alice, The Cat and the Fiddle, Zeus, and many others are called upon, Hahn creates a tour-de-force exploration of the book's central themes.
Unlike the heroines of domestic fiction, Katherine Karlin's women face their biggest challenges outside of the house. The characters in this debut collection encompass a broad range of contemporary American experiences: a struggling young woman in post-Katrina New Orleans persuades a welder to teach her his trade; an orchestra oboist hears a confession from a beloved teacher; an idealistic aerobics instructor decamps for revolution- era Nicaragua to pick coffee on a farming collective.
In each of these stories, Karlin offers rare insight into the place of work in the lives of women, her narrators keenly observant and attuned to the humor that arises when life doesn't turn out as planned. But even more remarkable is the fullness with which she renders characters who make us wonder how they've escaped the notice of other writers. In unadorned prose that evokes complete worlds with deceptive ease, Karlin shows us people immersed in the negotiations of survival, just at the edge of being able to make sense of their lives.
Sender is one of seven plays in Holter’s Rightlynd Saga, all to be published by Northwestern University Press. Holter’s plays are set in Chicago’s fictional fifty-first ward. The other plays in the cycle are Exit Strategy, Lottery Day, Prowess, Red Rex, Rightlynd, and The Wolf at the End of the Block.
Through a study of the innovative work of Senegalese theater-makers from the 1930s onward, Senegalese Stagecraft explores a wide range of historical contexts and themes, including French colonial education, cultural Pan‑Africanism, West African Sufism, uses of television and mass media, and popular theater and activism. Using a multidisciplinary approach that includes field, archival, and literary methods, Valente‑Quinn offers a fresh look at performance cultures of West Africa and the Global South in a book that will interest students and scholars in African, Francophone, and performance studies.
The first part of Sense and Non-Sense, "Arts," is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, "Ideas," Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, "Politics," clarifies the political dilemmas facing intellectuals in postwar France.
Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work.
Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human.
The Sensible World and the World of Expression was a course of lectures that Merleau-Ponty gave at the Collège de France after his election to the chair of philosophy in 1952. The publication and translation of Merleau-Ponty’s notes from this course provide an exceptional view into the evolution of his thought at an important point in his career.
In these notes, we see that Merleau-Ponty’s consideration of the problem of the perception of movement leads him to make a self-critical return to Phenomenology of Perception in order to rethink the perceptual encounter with the sensible world as essentially expressive, and hence to revise his understanding of the body schema accordingly in terms of praxical motor possibilities. Sketching out an embodied dialectic of expressive praxis that would link perception with art, language, and other cultural and intersubjective phenomena, up to and including truth, Merleau-Ponty’s notes for these lectures thus afford an exciting glimpse of how he aspired to overcome the impasse of ontological dualism.
Situated midway between Phenomenology of Perception and The Visible and the Invisible, these notes mark a juncture of crucial importance with regard to Merleau-Ponty’s later efforts to work out the ontological underpinnings of phenomenology in terms of a new dialectical conception of nature and history.
The poems in Rachel Webster’s debut collection September often address a fleeting moment. Like the month, the moment can be a single leaf falling or a season of life. Webster’s pastoral poems address personal physical change in the seasons of life, including childhood, love, motherhood, and death. Together they lead the reader through a lyrical landscape of conversation, meditation, and healing. The work of a poet sensitive to worlds external and internal, September speaks to the core of life and the simplicity of human events and the natural world around us.
This book provides an introduction to Sergei Dovlatov (1941–1990) that is closely attentive to the details of his life and work, their place in the history of Soviet society and literature, and of émigré culture during this turbulent period. A journalist, newspaper editor, and prose writer, Dovlatov is most highly regarded for his short stories, which draw heavily on his experiences in Russia before 1979, when he was forced out of the country. During compulsory military service, before becoming a journalist, he worked briefly as a prison camp guard—an experience that gave him a unique perspective on the operations of the Soviet state. After moving to New York, Dovlatov published works (in the New Yorker and elsewhere) that earned him considerable renown in America and back in Russia. Young’s book presents a valuable critical overview of the prose of a late twentieth-century master within the context of the prevailing Russian and larger literary culture.
He asks: what steps might we take to revitalize the quality and strength of our leadership? He then forcefully and straightforwardly gives an outline of what he believes are the major changes in leadership we must bring about. As a professor of management and strategy, and earlier, as a director and senior partner at a major consulting firm, and as a captain in the U. S. Army, Neuschel observed the best of leadership, and practiced it. He shares his insights with us in The Servant Leader.
These seven plays, which span the Ward Prize's history, represent a wide range of talents, experience, and perspectives brought to bear on diverse themes, from a unique moment in the history of baseball's Negro League to a working-class couple contending with a neighborhood bully; from a child's memories of negotiating desegregation to coming of age amidst the ravages of racism, child abuse, and AIDS. By turns poetic and moving, brave and rousing, uproarious and unsettling, these works written by established and emerging playwrights allow actors, directors, theatergoers, and readers to sample the multifarious dramatic experience being limned by African American playwrights today.
Standing against the visible landscape—the mountainous volcanoes, the jungles and savannahs—the seven trees conjured in these narrative poems by one of Latin America's masters also evoke another, more mysterious terrain. It is this other landscape, as invisible as poetry before it is written down but etched by history and animated by the collective memory of a people, that speaks through Pablo Antonio Cuadra’s Seven Trees against the Dying Light.
Storing experience as they exist, these tree-poems conserve local soil and memory in the place they inhabit. They are figures of life, stained by seawater and gun powder, by the bright red, bittersweet juice of the many life-giving plums that flourish in Nicaragua, and blood that has been spilled there. And they offer a way of remembering who we are, where we come from, and, above all, where we are bound if we cannot learn to root language in the earth that sustains us.
Printed here in Spanish with facing English translations, the edition includes an introduction with ecocritical focus, as well as complete notes on botanical, historical, mythological, and socio-political references.
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.
While prostitutes in nineteenth-century Paris were subject to municipal laws that policed their bodies and movements, writers of the era enlisted them to stake their own claims on both the city and the novel as literary territory. Sex Work, Text Work: Mapping Prostitution in the Nineteenth-Century French Novel explores how prostitutes depicted by Émile Zola, Joris-Karl Huysmans, Edmond de Goncourt, Adolphe Tabarant, and Charles-Louis Philippe “write back,” confounding civil and literary efforts to contain them in space and in narrative.
In city-regulated brothels, brasseries à femmes, Haussmannian boulevards, and the novel itself, working-class prostitutes served to reinforce the boundaries of social inclusion and exclusion. And yet, Jessica Tanner contends, even the novels that most explicitly aligned with the disciplinary logic of regulated prostitution make space for a distinctly literary form of resistance: these women elude or disrupt the mapping that would claim them as literary territory, revealing their authors’ failure to secure their narratives as property. Tanner pushes back against the critical tendency to attribute agency only to courtesans who became published authors and forwards a new framework for understanding the political work novels engage in as they circulate. Observing that debates about the regulation of prostitution surfaced in tandem with racialized anxieties about the boundaries of the French nation, Tanner ultimately expands that framework to the history of French colonialism and the politics of immigration in the current day. This book shows that while sex workers have been recruited to mark the borders of civic and moral life, prostitution can also make space for more inclusive forms of community, both in the novel and in the world beyond its bounds.
The poems in Samuel Hazo’s Sexes: The Marriage Dialogues are concerned with how husbands and wives confront each other at life’s various intersections—sometimes casually, sometimes profoundly. It is at these points that the most interesting differences in gender reveal themselves. From the first poem (“Banterers”) to the last (“Ballad of the Old Lovers”) Hazo’s attuned ear picks up quotidian conversational exchanges, but the words are never window dressing. They hint at inevitable insights and misunderstandings born out of conjugal love. Each poem is a vignette of the moving and surprising moments that are married life.
After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.
At the center of the book is Shakespeare’s fascination with questions that are fundamental to both law and philosophy: What are the sources of agency? What counts as a person? For whom am I responsible, and how far does that responsibility extend? What is truly mine? Curran guides readers through Shakespeare’s responses to these questions, paying careful attention to both historical and intellectual contexts.
The result is a book that advances a new theory of Shakespeare’s imaginative relationship to law and an original account of law’s role in the ethical work of his plays and sonnets. Readers interested in Shakespeare, theater and philosophy, law, and the history of ideas will find Shakespeare’s Legal Ecologies to be an essential resource.
The latest collection from award-winning poet Vievee Francis, The Shared World imagines the ideas and ideals and spaces of the Black woman. The book delves into inherited memories and restrictions between families, lovers, and strangers and the perception and inconvenient truth of Black woman as mother—with or without child. Francis challenges the ways in which Black women are often dismissed while expected to be nurturing. This raw assemblage of poetic narratives stares down the oppressors from within and writes a new language in the art of taking back the body and the memory. These poetic narratives are brutal in their lyrical blows but tender with the bruised history left behind. “You can’t stop this / song,” she writes. “More hands than yours have closed / around my throat.”
Francis’s lyric gifts are on full display as she probes self-discovery, history, intimacy, and violence. Her voice encompasses humor and gravity, enigma and revelation. What emerges is a realm of intertwined experiences. “The secret to knowing the secret is to speak,” she concludes, “but we too often tell / the stories of no matter and avoid the one story that does matter. / In truth, we are bound by one story, so you’d think by now / we’d tell it, at least to each other.”
Genin's richly detailed portrait shows the effects of a family's struggle—personal, religious, social, and for their very survival—against the shadow of the Nazi rise to power.
The rules are simple enough: “Here’s the deal: Whoever keeps his hands longest on one of the dealer’s brand new pickup trucks owns it and gets to drive it away.” An actual contest hosted by an auto dealership in Texas is the prompt for this fictional exploration, which seeks to probe the depths and shallows of the American soul.
To the players vying for this shiny new prize, competition revs up as the hours wear on, positions harden, sightlines narrow, and sleep-deprivation intensifies. At the center is the reporter Trew Reade, struggling to make sense of the event and his own role in it. Early on, he muses that “surface and substance were rarely the same; transparency could be the most cunning of masks.” So, too, is the author’s transparent prose. Reviewers have sometimes found Mojtabai’s vision akin to that of Marilynne Robinson and Flannery O’Connor, but the characterization from Books & Culture—“not like anyone else”—is perhaps best, inviting readers to discover this provocative writer for themselves.
Anna A. Berman’s book brings to light the significance of sibling relationships in the writings of Tolstoy and Dostoevsky. Relationships in their works have typically been studied through the lens of erotic love in the former, and intergenerational conflict in the latter.
In close readings of their major novels, Berman shows how both writers portray sibling relationships as a stabilizing force that counters the unpredictable, often destructive elements of romantic entanglements and the hierarchical structure of generations. Power and interconnectedness are cast in a new light. Berman persuasively argues that both authors gradually come to consider siblinghood a model of all human relations, discerning a career arc in each that moves from the dynamics within families to a much broader vision of universal brotherhood.
Few people know Chicago as do Rick Kogan and Charles Osgood, and their "Sidewalks" column for the Chicago Tribune Sunday Magazine is a tour of the city like no other, taking readers to the off-beat and quintessential spots that give Chicago its character—that make its inhabitants feel at home and tell its visitors that they have arrived.
Accompanied by evocative color photographs by Charles Osgood, Kogan's pieces revisit the lost places and people of Chicago, and take readers down the quiet byways and thriving thoroughfares, pointing out the characters and cornerstones, the oddities and institutions that make the city what it is. In this collection you will find an elegy for Maxwell Street, the marketplace that pulsed with city life for more than 100 years; a remembrance of a disturbing advertisement ("Are you a slave to housework?") on the side of a building on Irving Park Road; a cross marking a deadly intersection; a magical miniature golf course; as well as ballad singer Fred Holstein, the denizens of the World Gym and memories of Bensinger's pool hall, the day-camp kids of summer, bike couriers, the creatures of the beach, and much, much more. Here is Chicago, past, present, and—let's hope—future, captured in the unique archive of Sidewalks.
Thus does Maurice Merleau-Ponty describe speech in this collection of his important writings on the philosophy of expression, composed during the last decade of his life. For him, expression is a category of human behavior and existence much broader than language alone. He maintains that man is essentially expressive, even prior to speaking: in his silence, gestures, and lived behavior.
Scholars have long noted the deeply rooted veneration of the power of the word—both the expressive and communicative capacities of language—in Russian literature and culture. In her ambitious book Silence and the Rest, Sofya Khagi illuminates a consistent counternarrative, showing how, throughout its entire history, Russian poetry can be read as an argument for what she calls “verbal skepticism.” Although she deals with many poets from a two-century tradition, Khagi gives special emphasis to Osip Mandelstam, Joseph Brodsky, and Timur Kibirov, offering readings that add new layers of meaning to their work. She posits a long-running dialogue between the poets and the philosophers and theorists who have also been central to the antiverbal strain of Russian culture. Unlike its Western counterpart, the Russian philosophical and theological doubt of the efficacy of the word still grants the author, and literature itself, an ethical force—the inadequacies of language notwithstanding.
These are the first two volumes of the Croatian poet and novelist Irena Vrkljan's lyrical autobiography. Although each novel illuminates the other, they also stand alone as original and independent works of art. In The Silk, the Shears, Vrkljan traces the symbolic and moral significance of her life, and her vision of the fate of women in her mother's time and in her own. Marina continues the intense analysis of the poetic self, using the life of Marina Tsvetaeva to meditate on the processes behind biography.
Dissatisfied with the life of the intelligentsia, the poet Daryalsky joins a rural mystic sect, the Silver Doves. The locals, in particular the peasant woman Matryona, are fascinated by the dashing stranger. Daryalsky is in turn taken in by the Doves' intimacy with the mystical and spiritual--and by Matryona. Under the influence of Kudeyarov, the ruthless cult leader, Daryalsky is used in a bid to produce a sacred child. But in time the poet disappoints the Doves and must face their suspicions and jealousies--and his own inevitable dire fate.
In her fourth essay collection, award-winning author Marianne Boruch explores the possibilities of hope even in darkness. Through poetry, the silence of Trappist monks, the pandemic moment, the Wright brothers’ quirky stab at flight, treasured knickknacks, and more, this book celebrates the weird, the mundane, the overlooked, and the promise of a future. Though each essay is distinct, foraging fresh ways into Louise Glück, W. H. Auden, Elizabeth Bishop, Robert Frost, Marianne Moore, Sylvia Plath, John Berryman, Langston Hughes, and more, they are all connected through the thread of Emily Dickinson’s comment that her fate was to “sing, as a Boy does by the Burying Ground . . .” Even in times filled with horror, we find beauty. Maybe we can sing in the blackest of nights.
Thoughtful and expressive, this collection provides solace and humor for readers in a world where both are often in short supply.
Inside Half Moon Bay, a sparkling California coastal town, Ester Prynn is dulled and diminished by struggles with work, money, marriage, her senile father, a troubled teenage son, and old guilt she can’t assuage. When a masked gunman robs the convenience store where Ester works, he upends her fraught life and propels her toward passions buried, like singing; desires discovered, like a same-sex infatuation; and wrongs righted, like bringing the violent assailant to justice. But as the armed robber commits new crimes and continues to evade capture, the trauma from the holdup climbs, threatening Ester’s newfound delights and longings and forcing her to contend with her burning regrets and what-ifs. In the reckoning between Ester and these growing, molten upsets, she’s faced with enormous choices and must determine what and who can bring her to her best life.
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.
This book focuses on the integral, interdisciplinary, and intermedial "compositions"—verbal, visual, musical, theatrical, and cinematic—of the avant-gardes in the period following World War II. It also considers the artistic politics of these postwar avant-gardes and their works. The book’s geographical span is primarily the United States, although in its more extended reach, it comprehends an international context of American postwar cultural hegemony throughout what was once referred to as "the free world."
The works and the artists Miller takes up are those of the so-called "neo–avant-garde" with its inherent contradiction: an avant-garde whose newness is defined by its seeming reiteration of an earlier historical formation. Concentrating on the rhetorical, contextual, and performative characteristic of neo–avant-garde practice, including its relation to politics, Miller emphasizes the centrality of the example in this practice. John Cage, Jackson Mac Low, Gilbert Sorrentino, David Tudor, Stan Brakhage, and Samuel Beckett are among the artists whose exemplary works feature in Singular Examples. Miller’s key readings of these major artists of the period open up some of the most difficult texts of the neo–avant-garde even as they contribute to an eloquent argument for "artistic politics." Underlining the relation between material particulars and their thematic implications, between particular works and larger theoretical claims, between avant-garde aesthetics and formalist analysis, Singular Examples is exemplary in its own right, revealing the ultimate shape and direction of a postwar avant-garde contending with the historical predicaments of radical modernism.
Outstanding Academic Title, CHOICE
The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women’s, and theater history. This groundbreaking study documents how black women theater artists and activists—many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors—disseminated the black aesthetic and emboldened their communities.
Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare, and three-time Tony-nominated writer and composer Micki Grant, La Donna L. Forsgren centers black women’s cultural work as a crucial component of civil rights and black power activism. Sistuhs in the Struggle is an essential collection for theater scholars, historians, and students interested in learning how black women’s art and activism both advanced and critiqued the ethos of the Black Arts and Black Power movements.
Jonathan Walker demonstrates that by removing scenes from visible performance, playwrights take up the nondramatic mode of storytelling in order to transcend the limits of the stage. Through this technique, they present dramatic action from the subjective, self-interested, and idiosyncratic perspectives of individual characters. By recovering these offstage elements, Walker reveals the pervasive and formative dynamic between the onstage and offstage and between the seen and unseen in Renaissance drama.
Examining premodern dramatic theory, Renaissance plays, period amphitheaters, and material texts, this interdisciplinary work considers woodcuts, engravings, archaeology, architecture, rhetoric, the history of the book, as well as plays by Shakespeare, Marlowe, Kyd, Ford, Middleton, and Webster, among others. It addresses readers engaged in literary criticism, dramatic theory, theater history, and textual studies.
Speaking to the Heart
After a long night up writing poems,a streak of sunlight leapt into my room.
I ran to the yard,
running as if I were a child,
footprints breaking the earth's first dew,
chest brushing softly the short grass.
Earth and sky seeped into me like wine.
Startled,
I saw my heart in the shape of a ploughshare<
resting on the earth's shoulder,
the heart thumping, steadily ploughing into time.
—Lam Thi My Da
Chilean poet Raúl Zurita has long been recognized as one of the most celebrated and important voices from Latin America. His compelling rhythms combine epic and lyric tones, public and most intimate themes, grief and joy. This bilingual volume of selected works is the first of its kind in any language, representing the remarkable range of an extraordinary poet. Zurita’s work confronts the cataclysm of the Pinochet coup with a powerful urgency matched by remarkable craftsmanship and imaginative vision. In Zurita’s attempt to address the atrocities that indelibly mark Chile, he makes manifest the common history of the Americas.
In her debut short-story collection A Small Apocalypse, Laura Chow Reeve examines cultural inheritance, hybridity, queerness, and the stickiness of home with an eye for both the uncanny and the realistic: human bodies become reptilian, queer ghosts haunt their friends, a young woman learns to pickle memories, and a theater floods during an apocalyptic movie marathon. The characters in A Small Apocalypse weave in and out of its fourteen stories, confronting their sense of otherness and struggling to find new ways of being and belonging. Heavily steeped in the swampy, feral heat of Florida, these stories venture beyond the problems of constructing an identity to the frontier of characters living their truth in a world that doesn’t yet have a place for them.
Denza Dellara is a clumsy Cinderella too big for her hand-me-downs, saddled with a family that frustrates her hopes, and in love with a gargantuan Prince Charming who woos and then betrays her. An engaging Frog Prince appears, and though he has an enormous wart on his forehead, he can end her daydreaming and save her from impending spinsterhood . . . if she lets him.
"A smell very similar to that of slaughterhouses at dawn, but infinitely sweeter and slightly nauseating, or rather, to be more precise, exhilarating."
The smell of blood is really the smell of life. The psychiatrist narrating the story has the power to detect it. His young mistress hungers for it. And his middle-aged wife Silvia has just begun to emanate it--overpoweringly.
Silvia has begun an affair with a violent young idler and neofascist who despises and exploits women. At first her husband reacts with good humor--he has long been unfaithful himself. But jealousy soon colors his curiosity, and his obsession with the details of Silvia's relationship leads to fantasies that become self-fulfilling prophecies. At times coolly analytical, at others driven to know more, the narrator watches as Silvia's actions become more and more self-destructive. When she becomes a slave to her lover's wishes the smell of blood grows stronger, and the odor of life becomes an omen of death.
Goffredo Parise wrote The Smell of Blood in 1979 after suffering a heart attack. Once finished he sealed the manuscript in lead and wax and did not look at it again until a few days before his death in 1986. It was published posthumously in 1997 in Italy.
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