“This book is very important in the wider context of related scholarship in the modern-day civil rights movement because it will be the first on the youth perspective in the NAACP. . . . I believe that it will be widely used by scholars and the general public.”—Linda Reed, author of Simple Decency and Common Sense: The Southern Conference Movement, 1938-1963
“A recent trend in the historiography of the civil rights movement is the increased understanding of the role that young people played in the right for equality. . . . Bynum has filled a gap in the civil rights literature in this short book.” —Choice
Historical studies of black youth activism have until now focused almost exclusively on the activities of the Congress Racial Equality (CORE) and the Student Nonviolent Coordinating Committee (SNCC). However, the NAACP youth councils and college chapters predate both of those organizations. Thomas Bynum carefully examines the activism of the NAACP youth and effectively refutes the perception of the NAACP as working strictly through the courts. His research illuminates the many direct-action activities undertaken by the young people of the NAACP—activities that helped precipitate the breakdown of racial discrimination and segregation in America. He also explores the evolution of the youth councils and college chapters, including their sometime rocky relationship with the national office, and captures the successes, failures, and challenges the NAACP youth groups experiences at the national, state, and local levels.
Thomas Bynum is an assistant professor of history at Middle Tennessee State University.
In Nabokov and Indeterminacy, Priscilla Meyer shows how Vladimir Nabokov’s early novel The Real Life of Sebastian Knight illuminates his later work. Meyer first focuses on Sebastian Knight, exploring how Nabokov associates his characters with systems of subtextual references to Russian, British, and American literary and philosophical works. She then turns to Lolita and Pale Fire, applying these insights to show that these later novels clearly differentiate the characters through subtextual references, and that Sebastian Knight’s construction models that of Pale Fire.
Meyer argues that the dialogue Nabokov constructs among subtexts explores his central concern: the continued existence of the spirit beyond bodily death. She suggests that because Nabokov’s art was a quest for an unattainable knowledge of the otherworldly, knowledge which can never be conclusive, Nabokov’s novels are never closed in plot, theme, or resolution—they take as their hidden theme the unfinalizability that Bakhtin says characterizes all novels.
The conclusions of Nabokov's novels demand a rereading, and each rereading yields a different novel. The reader can never get back to the same beginning, never attain a conclusion, and instead becomes an adept of Nabokov’s quest. Meyer emphasizes that, unlike much postmodern fiction, the contradictions created by Nabokov’s multiple paths do not imply that existence is constructed arbitrarily of pre-existing fragments, but rather that these fragments lead to an ever-deepening approach to the unknowable.
Nabokov and the Art of Painting
Gerard de Vries and D. Barton Johnson Amsterdam University Press, 2006 Library of Congress PG3476.N3Z633 2006 | Dewey Decimal 709
“Sounds have colors and colors have smells.” This sentence in Adais only one of the many moments in Nabokov’s work where he sought to merge the visual into his rich and sensual writing. This lavishly illustrated study is the first to examine the role of the visual arts in Nabokov’s oeuvre and to explore how art deepens the potency of the prominent themes threaded throughout his work.
The authors trace the role of art in Nabokov’s life, from his alphabetic chromesthesia—a psychological condition in which letters evoke specific colors—to his training under Marc Chagall’s painting instructor to his deep admiration for Leonardo da Vinci and Hieronymus Bosch. They then examine over 150 references to specific works of art in such novels as Laughter in the Dark, The Real Life of Sebastian Knight, Pnin, Lolita, Ada, and Pale Fire and consider how such references reveal new emotional aspects of Nabokov’s fiction.
A fascinating and wholly original study, Nabokov and the Art of Painting will be invaluable reading for scholars and enthusiasts of Nabokov alike.
Nabokov Upside Down
Edited by Brian Boyd and Marijeta Bozovic Northwestern University Press, 2017 Library of Congress PG3476.N3Z7925 2017 | Dewey Decimal 813.54
Nabokov Upside Down brings together essays that explicitly diverge from conventional topics and points of reference when interpreting a writer whose influence on contemporary literature is unrivaled. Scholars from around the world here read Nabokov in terms of bodies rather than minds, belly-laughs rather than erudite wit, servants rather than master-artists, or Asian rather than Western perspectives. The first part of the volume is dedicated to surveys of Nabokov’s oeuvre that transform some long-held assumptions concerning the nature of and significance of his work.
Often thought of as among the most cerebral of artists, Nabokov comes across in these essays as profoundly aware of the physical world, as evidenced by his masterly representation of physical movement, his bawdy humor, and his attention to gustatory pleasure, among other aspects of his writing. The volume’s second half focuses on individual works or phases in Nabokov’s career, noting connections among them as well as to other fields of inquiry beyond literature. Engaged in conversation with each other and, in his editorial comments, with Brian Boyd, the essays in this volume show Nabokov scholarship continuing to renew itself.
Nabokov's translation of Pushkin's Eugene Onegin (1964) and its accompanying Commentary, along with Ada, or Ardor (1969), his densely allusive late English language novel, have appeared nearly inscrutable to many interpreters of his work. If not outright failures, they are often considered relatively unsuccessful curiosities. In Bozovic's insightful study, these key texts reveal Nabokov's ambitions to reimagine a canon of nineteenth- and twentieth-century Western masterpieces with Russian literature as a central, rather than marginal, strain. Nabokov's scholarly work, translations, and lectures on literature bear resemblance to New Critical canon reformations; however, Nabokov's canon is pointedly translingual and transnational and serves to legitimize his own literary practice. The new angles and theoretical framework offered by Nabokov's Canon help us to understand why Nabokov's provocative monuments remain powerful source texts for several generations of diverse international writers, as well as richly productive material for visual, cinematic, musical, and other artistic adaptations.
Julian W. Connolly's companion to Vladimir Nabokov's Invitation to a Beheading includes a general introduction discussing the work in the context of Nabokov's oeuvre as well as its place within the Russian literary tradition. Also included are primary sources and other background materials, as well as discussions of the work by leading scholars and an annotated bibliography. Combining the highest order of scholarship with accessibility, this critical companion illuminates a great work of literature, and will enhance is appreciation by both teachers and students.
Nabucodonosor, one of the early Verdi operas, is the third work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, the edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial board—Philip Gossett, Julian Budden, Martin Chusid, Francesco Degrada, Ursula Günther, Giorgio Pestelli, and Pierluigi Petrobelli. Nabucodonosor is available as a two-volume set: a full orchestral score and a critical commentary. The score, which has been beautifully bound and autographed, is printed on high-grade paper in an oversized, 10-1/2 x 14-1/2-inch format. The introduction to the score discusses the work's genesis, sources, and performance history as well as performance practices, instrumentation, and problems of notation. The critical commentary, printed in a smaller format, discusses editorial decisions and identifies the sources of alternate readings of the music and libretto.
Nachituti’s Gift challenges conventional theories of economic development with a compelling comparative case study of inland fisheries in Zambia and Congo from pre- to postcolonial times. Neoclassical development models conjure a simple, abstract progression from wealth held in people to money or commodities; instead, Gordon argues, primary social networks and oral charters like “Nachituti’s Gift” remained decisive long after the rise of intensive trade and market activities. Interweaving oral traditions, songs, and interviews as well as extensive archival research, Gordon’s lively tale is at once a subtle analysis of economic and social transformations, an insightful exercise in environmental history, and a revealing study of comparative politics.
Honorable Mention, Melville J. Herskovits Award, African Studies Association
“A powerful portrayal of the complexity, fluidity, and subtlety of Lake Mweru fishers’ production strategies . . . . Natchituti’s Gift adds nuance and evidence to some of the most important and sophisticated conversations going on in African studies today.”—Kirk Arden Hoppe, International Journal of African Historical Studies
“A lively and intelligent book, which offers a solid contribution to ongoing debates about the interplay of the politics of environment, history and economy.”—Joost Fontein, Africa
“Well researched and referenced . . . . [Natchituti’s Gift] will be of interest to those in a wide variety of disciplines including anthropology, African Studies, history, geography, and environmental studies.”—Heidi G. Frontani, H-SAfrica
Reveals the career of an influential but underappreciated photojournalist.
Photographer Nacho LÃ³pez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, LÃ³pez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico.
In Nacho LÃ³pez, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of LÃ³pez's most important photographs. Mraz first sets LÃ³pez's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of LÃ³pez's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which LÃ³pez worked, and the success with which his photographs challenged Mexico's economic and political structures.
Mraz contrasts the photos LÃ³pez took with those that were selected by his editors for publication. He also compares LÃ³pez's images with his theories about documentary photography, and considers LÃ³pez's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and SebastiÃ£o Salgado. LÃ³pez's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneering digital imagery of Pedro Meyer, and the work of Manuel Ã?lvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance.
The definitive English-language assessment of Nacho LÃ³pez's career, this volume also explores such broader topics as the nature of the photographic essay and the role of the media in effecting social change.
"John Mraz writes clearly and passionately. His excellent study will elevate LÃ³pez into the pantheon of photographers who have combined social commitment and artistic expression and creativity." Robert M. Levine
"If Manuel Alvarez Bravo is Mexico's version of Edward Weston, then Nacho LÃ³pez is probably the equivalent of W. Eugene Smith--that is to say, a photojournalist of international stature. Documentary photographers are all too often static bystanders, but LÃ³pez was a dynamic dissident. To appreciate his work, you have to be in possession of John Mraz's profound knowledge of Mexican social history. This is one of the most important contributions to the history of photography of the last twenty years." Mike Weaver
John Mraz is research professor at the Instituto de Ciencias Sociales y Humanidades at the Universidad AutÃ³noma de Puebla in Mexico.
As companies increasingly look to the global market for capital, cheaper commodities and labor, and lower production costs, the impact on Mexican and American workers and labor unions is significant. National boundaries and the laws of governments that regulate social relations between laborers and management are less relevant in the era of globalization, rendering ineffective the traditional union strategies of pressuring the state for reform.
Focusing especially on the effects of the North American Free Trade Agreement and the North American Agreement on Labor Cooperation (the first international labor agreement linked to an international trade agreement), Norman Caulfield notes the waning political influence of trade unions and their disunity and divergence on crucial issues such as labor migration and workers' rights. Comparing the labor movement's fortunes in the 1970s with its current weakened condition, Caulfield notes the parallel decline in the United States' hegemonic influence in an increasingly globalized economy. As a result, organized labor has been transformed from organizations that once pressured management and the state for worker concessions to organizations that now request that workers concede wages, pensions, and health benefits to remain competitive in the global marketplace.
During the Protestant Reformation, Martin Luther instituted new ideologies addressing gender, marriage, chastity, and religious life that threatened Catholic monasticism. Yet many living in cloistered religious communities, particularly women, refused to accept these new terms and were successful in their opposition to the new Protestant culture.
Focusing primarily on a group of Dominican nuns in Strasbourg, Germany, Amy Leonard's Nails in the Wall outlines the century-long battle between these nuns and the Protestant city council. With savvy strategies that employed charm, wealth, and political and social connections, the nuns were able to sustain their Catholic practices. Leonard's in-depth archival research uncovers letters about and records of the nuns' struggle to maintain their religious beliefs and way of life in the face of Protestant reforms. She tells the story of how they worked privately to keep Catholicism alive-continuing to pray in Latin, smuggling in priests to celebrate Mass, and secretly professing scores of novices to ensure the continued survival of their convents. This fascinating and heartening study shows that, far from passively allowing the Protestants to dismantle their belief system, the women of the Strasbourg convents were active participants in the battle over their vocation and independence.
Nobel prize winning Orhan Pamuk takes us on a journey into the worlds of readers and writers through the lens of his own life. Pamuk’s very personal, autobiographical stories explain how he came to reading and writing. As someone who started out as a painter in his early twenties, Pamuk approaches his discussion of the novel with a strong visual sense. Explaining that readers and writers need to be both naïve and sentimental, he looks back to his early years and the varied works that inspired him, including writers such as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul.
How do you write yourself into a literature that doesn’t know you exist? This was the conundrum confronted by Nakagami Kenji (1946–1992), who counted himself among the buraku-min, Japan’s largest minority. His answer brought the histories and rhetorical traditions of buraku writing into the high culture of Japanese literature for the first time and helped establish him as the most canonical writer born in postwar Japan.
In Nakagami, Japan, Anne McKnight shows how the writer’s exploration of buraku led to a unique blend of fiction and ethnography—which amounted to nothing less than a reimagining of modern Japanese literature. McKnight develops a parallax view of Nakagami’s achievement, allowing us to see him much as he saw himself, as a writer whose accomplishments traversed both buraku literary arts and high literary culture in Japan.
As she considers the ways in which Nakagami and other twentieth-century writers used ethnography to shape Japanese literature, McKnight reveals how ideas about language also imagined a transfigured relation to mainstream culture and politics. Her analysis of the resulting “rhetorical activism” lays bare Nakagami’s unique blending of literature and ethnography within the context of twentieth-century ideas about race, ethnicity, and citizenship—in Japan, but also on an international scale.
Although airports are now best known for interminable waits at check-in counters, liquid restrictions for carry-on luggage, and humiliating shoe-removal rituals at security, they were once the backdrops for jet-setters who strutted, martinis in hand, through curvilinear terminals designed by Eero Saarinen. In the critically acclaimed NakedAirport, Alastair Gordon traces the cultural history of this defining institution from its origins in the muddy fields of flying machines to its frontline position in the struggle against international terrorism.
From global politics to action movies to the daily commute, Gordon shows how the airport has changed our sense of time, distance, and style, and ultimately the way cities are built and business is done. He introduces the people who shaped and were shaped by this place of sudden transition: pilots like Charles Lindbergh, architects like Le Corbusier, and political figures like Fiorello LaGuardia and Adolf Hitler. NakedAirport is a profoundly original history of a long-neglected yet central component of modern life.
“This charming history documents why airports have always been such intriguing places. Gordon wittily deconstructs air terminal architecture. . . . Here is a book with more than enough quirky details to last a long layover.”—People
“[A] splendid cultural history.”—Atlantic Monthly
“Gordon, an architecture and design critic, tells his story well, bringing to life some of the main characters and highlighting some of the important issues concerning urbanism and airports.”—Michael Roth, San Francisco Chronicle
“Gordon provides a truly compelling account of how airports had over the course of three-quarters of a century become the locus of not only modern dreams but postmodern nightmares as well. Don’t leave home without it.”—Terence Riley, director of the Miami Art Museum
In this folkloric examination of mass-produced material culture in the United States, Jeannie Banks Thomas examines the gendered sculptural forms that are among the most visible, including Barbie, Ken, and G.I. Joe dolls; yard figures (gnomes, geese, and flamingos); and cemetery statuary (angels, sports-related images, figures of the Virgin Mary, soldiers, and politicians).
Images of females are often emphasized or sexualized, frequently through nudity or partial nudity, whereas those of the male body are not only clothed but also armored in the trappings of action and aggression. Thomas locates these various objects of folk art within a discussion of the post–women's movement discourse on gender.
In addition to the items themselves, Thomas explores the stories and behaviors they generate, including legends of the supernatural about cemetery statues, oral narratives of yard artists and accounts of pranks involving yard art, narratives about children's play with Barbie, Ken, and G.I. Joe, and the electronic folklore (or "e-lore") about Barbie that circulates on the Internet.
At different times and in different places, the human form has been regarded in different ways. The Ancient Greeks thought it was the most admirable subject for art, whereas early Christians often viewed it as lascivious in our post-lapsarian state. With illustrations taken from manuscripts, statuary and literary, this is a fascinating collection of essays with much that will be new to scholars and general readers alike.
The Naked Blogger of Cairo
Marwan M. Kraidy Harvard University Press, 2016 Library of Congress JQ1850.A91K72 2016 | Dewey Decimal 909.097492708312
Across the Arab world, protesters voiced dissent through slogans, graffiti, puppetry, videos, and satire that called for the overthrow of dictatorial regimes. Investigating what drives people to risk everything to express themselves in rebellious art, Marwan M. Kraidy uncovers the creative insurgency at the heart of the Arab uprisings of 2010–2012.
In 1970, Margaret Grundstein abandoned her graduate degree at Yale and followed her husband, an Indonesian prince and community activist, to a commune in the backwoods of Oregon. Together with ten friends and an ever-changing mix of strangers, they began to build their vision of utopia.
Naked in the Woods chronicles Grundstein’s shift from reluctant hippie to committed utopian—sacrificing phones, electricity, and running water to live on 160 acres of remote forest with nothing but a drafty cabin and each other. Grundstein, (whose husband left, seduced by “freer love”) faced tough choices. Could she make it as a single woman in man’s country? Did she still want to? How committed was she to her new life? Although she reveled in the shared transcendence of communal life deep in the natural world, disillusionment slowly eroded the dream. Brotherhood frayed when food became scarce. Rifts formed over land ownership. Dogma and reality clashed.
Many people, baby boomers and millennials alike, have romantic notions about the 1960s and 70s. Grundstein’s vivid account offers an unflinching, authentic portrait of this iconic and often misreported time in American history. Accompanied by a collection of distinctive photographs she took at the time, Naked in the Woods draws readers into a period of convulsive social change and raises timeless questions: how far must we venture to find the meaning we seek, and is it ever far out enough to escape our ingrained human nature?
Naked Lunch @ 50: Anniversary Essays
Edited by Oliver Harris and Ian MacFadyen Southern Illinois University Press, 2009 Library of Congress PS3552.U75N336 2009 | Dewey Decimal 813.54
Naked Lunch was banned, castigated, and recognized as a work of genius on its first publication in 1959, and fifty years later it has lost nothing of its power to astonish, shock, and inspire. A lacerating satire, an exorcism of demons, a grotesque cabinet of horrors, it is the Black Book of the Beat Generation, the forerunner of the psychedelic counterculture, and a progenitor of postmodernism and the digital age. A work of excoriating laughter, linguistic derangement, and transcendent beauty, it remains both influential and inimitable.
This is the first book devoted in its entirety to William Burroughs’ masterpiece, bringing together an international array of scholars, artists, musicians, and academics from many fields to explore the origins, writing, reception, and complex meanings of Naked Lunch. Tracking the legendary book from Texas and Mexico to New York, Tangier, and Paris, Naked Lunch@50 significantly advances our understanding and appreciation of this most elusive and uncanny of texts.
"The Naked Man is the fourth and final volume [of Mythologiques], written by the most influential and probably the most controversial anthropologist of our time. . . . Myths from North and South America are set side by side to show their transformations: in passing from person to person and place to place, a myth can change its content and yet retain its structural principles. . . . Apart from the complicated transformations discovered and the fascinating constructions placed on these, the stories themselves provide a feast."—Betty Abel, Contemporary Review
"Lévi-Strauss uses the structural method he developed to analyze and 'decode' the mythology of native North Americans, focusing on the area west of the Rockies. . . . [The author] takes the opportunity to refute arguments against his method; his chapter 'Finale' is a defense of structural analysis as well as the closing statement of this four-volume opus which started with an 'Ouverture' in The Raw and the Cooked."—Library Journal
"The culmination of one of the major intellectual feats of our time."—Paul Stuewe, Quill and Quire
A Naked Singularity: A Novel
Sergio De La Pava University of Chicago Press, 2012 Library of Congress PS3616.A9545N35 2012 | Dewey Decimal 813.6
A Naked Singularity tells the story of Casi, a child of Colombian immigrants who lives in Brooklyn and works in Manhattan as a public defender--one who, tellingly has never lost a trial. Never. In the book, we watch what happens when his sense of justice and even his sense of self begin to crack--and how his world then slowly devolves. It’s a huge, ambitious novel clearly in the vein of DeLillo, Foster Wallace, Pynchon, and even Melville, and it's told in a distinct, frequently hilarious voice, with a striking human empathy at its center. Its panoramic reach takes readers through crime and courts, immigrant families and urban blight, media savagery and media satire, scatology and boxing, and even a breathless heist worthy of any crime novel. If InfiniteJest stuck a pin in the map of mid-90s culture and drew our trajectory from there, A Naked Singularity does the same for the feeling of surfeit, brokenness, and exhaustion that permeates our civic and cultural life today. In the opening sentence of William Gaddis’s A Frolic of His Own, a character sneers, "Justice? You get justice in the next world. In this world, you get the law." A Naked Singularity reveals the extent of that gap, and lands firmly on the side of those who are forever getting the law.
X-rays, fluoroscopy, ultrasound, CT, MRI, and PET scans--medical imaging has become a familiar part of modern health care today. A century ago, however, the idea of looking inside the living body seemed absurd. Wilhelm Roentgen's X-ray image of his wife's shadowy hand--with her wedding band "floating" around a white bone--convinced doctors to rush the new tool into use for diagnosis and treatment.
By the 1920s, the technology was a commonplace wonder: army recruits had routinely lined up for chest X-rays during World War I, and children delighted in seeing the bones of their feet in the green glow of shoestore fluoroscopes. By the late 1960s, the computer and television were linked to produce medical images that were as startling as Roentgen's original X-rays. Computerized tomography (CT) and magnetic resonance imaging (MR) made it possible to picture soft tissues invisible to ordinary X-rays. Ultrasound allowed expectant parents to see their unborn children. Positron emission tomography (PET) enabled neuroscientists to map the brain.
In this lively history of medical imaging, the first to cover the full scope of the field from X-rays to MR-assistant surgery, Bettyann Kevles explores the consequences of these developments for medicine and society. Through lucid prose, vivid anecdotes, and more than seventy striking illustrations, she shows how medical imaging has transformed the practice of medicine--from pediatrics to dentistry, neurosurgery to geriatrics, gynecology to oncology.
Despite their formidable power to reveal the inner secrets of the body, no form of medical imaging can claim to be the product of a technological imperative. As Kevles points out, few of these costly inventions made it easily to the marketplace, and all are vulnerable to the changing economics of the health-care system. In the early years of X-rays, many doctors, technicians, and patients died from overexposure to the invisible radiation. Although we may still find delayed repercussions from these newer technologies, a different kind of danger may lie in our conviction that an early diagnosis is equivalent to a cure.
Beyond medicine, Kevles describes how X-rays and the newer technologies have become part of the texture of modern life and culture. They helped undermine Victorian sexual sensibilities, gave courts new forensic tools, provided plots for novels and movies, and offered artists from Picasso to Warhol new ways to depict the human form.
Naked to the Bone offers readers an unparalled picture of a key technology of the twentieth century.
From parents and teachers to politicians and policymakers, there is a din of voices participating in the debate over how young people are affected by violence, strong language, and explicit sexual activity in films. The Motion Picture Association of America (MPAA) responded to this concern in 1968 when it introduced a classification and rating system based on the now well-known labels: "G," "PG," PG-13," "R," and "X." For some, these simple tags are an efficient way to protect children from viewing undesirable content. But do the MPAA ratings only protect children? In The Naked Truth, Kevin S. Sandler argues that perhaps even more than viewers, ratings protect the Hollywood film industry. One prime indicator of this is the collective abandonment of the NC-17 rating in 1990 by the major distributors of the MPAA and the main exhibitors of the National Association of Theatre Owners. By categorizing all films released by Hollywood and destined for mainstream theaters into R ratings (or lower), the industry ensures that its products are perceived as "responsible entertainment"—films accessible by all audiences and acceptable to Hollywood's various critics and detractors.
Margo Tamez University of Arizona Press, 2003 Library of Congress PS3570.A446N35 2003 | Dewey Decimal 811.6
Come, step outside your human skin for just a little while.
Margo Tamez’s voice is that of the cicada and the cricket, the raven and the crane. In this volume of poetry, she shows us that the earth is an erotic current linking all beings, a vibrant network of birth, death, and rebirth. A sacred intertwining from which we as humans have become disconnected. Tamez shares the perspective of other creatures in images that remind us of Nature's beauty and fragility. An invocation of birds: “Sudden hum / wings touching / wings in swift turn / hush / a fast red out of the flux.” An appreciation for the delicacy of insects, for spiderwebs “like a hundred needle-thin tubes of blown glass.”
Here too are reflections on childbirth and children—and on miscarriage, when damage inflicted on the environment by herbicides comes back to haunt all of us in our skin and bones, our very wombs. Warning of “the chemical cocktail seeping into the air ducts,” she brings the voice of someone who has experienced firsthand what happens when our land and water are compromised. For Tamez, earth, food, and family are the essentials of life, and we ignore them at our own peril. “If a person / does not admit the peril . . . that becomes a dangerous / form of existence.”
Written with the wisdom of one who knows and loves the land, her lyrical meditations speak to the naked wanting in us all.
Like much twentieth-century feminist writing today, this book crosses the boundaries of genre. Biblical interpretation combines with fantasy, autobiography, and poetry. Politics joins with eroticism. Irreverence coexists with a yearning for the sacred. Scholarship contends with heresy. Most excitingly, the author continues and extends the tradition of arguing with God that commences in the Bible itself and continues now, as it has for centuries, to animate Jewish writing. The difference here is that the voice that debates with God is a woman's.
In her introduction, "Entering the Tents, " Ostriker defines the need to struggle against a tradition in which women have been silenced and disempowered - and to recover the female power buried beneath the surface of the biblical texts. In "The Garden, " she reinterprets the mythically complex stories of Creation. Then she considers the stories of "The Fathers, " from Abraham and Isaac to Moses, David, and Solomon - and their wives, mothers, and sisters. In "The Return of the Mothers, " she begins with a radical new interpretation of the book of Esther, includes a meditation on the silenced wife of Job and the idea of justice, and concludes with a fable on the death of God and a prayer to the Shekhinah, the feminine aspect of God. Ostriker refuses to dismiss the Bible as meaningless to women. Instead, in this angry, eloquent, visionary book, she attempts to recover what is genuinely sacred in these sacred texts.
After years on the job, police detective Jakob Franck has retired. Finally, the dead—with all their mysteries—will no longer have any claim on him.
Or so he thinks. On a cold autumn afternoon, a case he thought he’d long put behind him returns to his life—and turns it upside down. The Nameless Day tells the story of that twenty-year-old case, which began with Franck carrying the news of the suicide of a seventeen-year-old girl to her mother, and holding her for seven hours as, in her grief, she said not a single word. Now her father has appeared, swearing to Franck that his daughter was murdered. Can Franck follow the cold trail of evidence two decades later to see whether he’s telling the truth? Could he live with himself if he didn’t?
A psychological crime novel certain to thrill fans of Henning Mankell and Jo Nesbo, The Nameless Day is a masterpiece, a tightly plotted story of contemporary alienation, loss, and violence.
N. Scott Momaday University of Arizona Press, 1996 Library of Congress PS501.S85 vol. 16 | Dewey Decimal 810.8
Of all of the works of N. Scott Momaday,The Names may be the most personal. A memoir of his boyhood in Oklahoma and the Southwest, it is also described by Momaday as "an act of the imagination. When I turn my mind to my early life, it is the imaginative part of it that comes first and irresistibly into reach, and of that part I take hold." Complete with family photos, The Names is a book that will captivate readers who wish to experience the Native American way of life.
Names Above Houses
Oliver de la Paz Southern Illinois University Press, 2001 Library of Congress PS3554.E114N36 2001 | Dewey Decimal 811.6
In Names above Houses, Oliver de la Pazuses both prose and verse poems to create the magical realm of Fidelito Recto—a boy who wants to fly—and his family of Filipino immigrants. Fidelito’s mother, Maria Elena, tries to keep her son grounded while struggling with her own moorings. Meanwhile, Domingo, Fidelito's fisherman father, is always at sea, even when among them. From the archipelago of the Philippines to San Francisco, horizontal and vertical movements shape moments of displacement and belonging for this marginalized family. Fidelito approaches life with a sense of wonder, finding magic in the mundane and becoming increasingly uncertain whether he is in the sky or whether his feet are planted firmly on the ground.
In this volume, which has been hailed as a major breakthrough in understanding the meaning of the elaborate kinship systems currently existing in Australian Aboriginal societies, C. G. von Brandenstein argues that such systems refer to an archaic theory of "world order" common to all these societies. This controversial conclusion is based on native testimony and on a sophisticated linguistic analysis of a vast quantity of data collected by the author and others.
Though the author has restricted the results of his research to Aboriginal Australia, his methodological approach is generalizable. Hence this work will be of importance to specialists in many areas.
As we search urgently for a strategy of sustainable natural resource management, an international debate is brewing over destructive modern fishery methods. Namibia's Fisheries is a timely contribution to this discussion as it examines Namibia’s Benguela upwelling system, an area that supports traditional and modern forms of fishery. This volume analyzes the Namibian experience in fishery management, featuring essays by researchers, Namibian fishery managers, and international specialists that cover a range of ecological and social issues. Namibia's Fisheries will be a valuable resource for researchers, conservationists, and students of fishery management.
It took twenty-three years of armed struggle before Namibia could gain its independence from South Africa in March 1990. Swapo’s victory was remarkable in the face of an overwhelmingly superior enemy. How this came about, and at what cost, is the subject of this outstanding study that is based on unpublished documents and extensive interviews with a large range of the key activists in the struggle.
The story that emerges is one of endurance and heroism in face of atrocious brutality on the part of the colonialists. But it reveals that it was also one of painful compromises imposed by the conditions of the struggle and the subordination of internal democracy within the liberation movement to the single goal of military and diplomatic victory.
The study will be of keen interest to everyone concerned with southern Africa. Students of armed liberation struggle generally will find much to challenge received wisdom. The sheer human interest of the interviews makes the book attractive to a wide readership.
What’s in a name? As Osumaka Likaka argues in this illuminating study, the names that Congolese villagers gave to European colonizers reveal much about how Africans experienced and reacted to colonialism. The arrival of explorers, missionaries, administrators, and company agents allowed Africans to observe Westerners’ physical appearances, behavior, and cultural practices at close range—often resulting in subtle yet trenchant critiques. By naming Europeans, Africans turned a universal practice into a local mnemonic system, recording and preserving the village’s understanding of colonialism in the form of pithy verbal expressions that were easy to remember and transmit across localities, regions, and generations.
Methodologically innovative, Naming Colonialism advances a new approach that shows how a cultural process—the naming of Europeans—can provide a point of entry into economic and social histories. Drawing on archival documents and oral interviews, Likaka encounters and analyzes a welter of coded fragments. The vivid epithets Congolese gave to rubber company agents—“the home burner,” “Leopard,” “Beat, beat,” “The hippopotamus-hide whip”—clearly conveyed the violence that underpinned colonial extractive economies. Other names were subtler, hinting at derogatory meaning by way of riddles, metaphors, or symbols to which the Europeans were oblivious. Africans thus emerge from this study as autonomous actors whose capacity to observe, categorize, and evaluate reverses our usual optic, providing a critical window on Central African colonialism in its local and regional dimensions.
Naming Evil, Judging Evil
Edited by Ruth W. Grant University of Chicago Press, 2006 Library of Congress BJ1401.N36 2006 | Dewey Decimal 170
Is it more dangerous to call something evil or not to? This fundamental question deeply divides those who fear that the term oversimplifies grave problems and those who worry that, to effectively address such issues as terrorism and genocide, we must first acknowledge them as evil. Recognizing that the way we approach this dilemma can significantly affect both the harm we suffer and the suffering we inflict, a distinguished group of contributors engages in the debate with this series of timely and original essays.
Drawing on Western conceptions of evil from the Middle Ages to the present, these pieces demonstrate that, while it may not be possible to definitively settle moral questions, we are still able—and in fact are obligated—to make moral arguments and judgments. Using a wide variety of approaches, the authors raise tough questions: Why is so much evil perpetrated in the name of good? Could evil ever be eradicated? How can liberal democratic politics help us strike a balance between the need to pass judgment and the need to remain tolerant? Their insightful answers exemplify how the sometimes rarefied worlds of political theory, philosophy, theology, and history can illuminate pressing contemporary concerns.
In 1913, Russian imperial marines stormed an Orthodox monastery at Mt. Athos, Greece to haul off monks engaged in a dangerously heretical practice known as Name Worshipping. Loren Graham and Jean-Michel Kantor take us on an exciting mathematical mystery tour as they unravel a bizarre tale of political struggles, psychological crises, sexual complexities, and ethical dilemmas. The men and women of the leading French and Russian mathematical schools are central characters in this absorbing tale that could not be told until now. Naming Infinity is a poignant human interest story that raises provocative questions about science and religion, intuition and creativity.
What would it take to renew our ability to name our sins in a meaningful and pertinent way? Naming sins is a particularly important task for Catholic moral theology, but it is one that often falls back into a paradigm of simple violations of rules. While laws and commandments are essential, Vatican II’s universal call to holiness and the revival of virtue ethics require moving further. Yet in part because moral theologians today tend to be lay people, not priests, there has been a de-emphasis on the confession of sins. Contemporary questions like poverty, racism, and abortion are usually connected to questions about sin in some way, but they are disconnected from the idea of naming specific sins in the sacrament of penance. Lay moral theologians raise these issues in a way that makes clear their implications for a parish social justice committee (or the voting booth), but not their implications for the naming of sins in the sacrament of reconciliation. Naming Our Sins proposes to re-make that connection: the moral theologian’s task of helping people name individual sins needs to be restored, though in ways distinctive from dominant pre-Vatican II notions.
In this volume, editors Jana Bennett and David Cloutier gather some of the best of the current generation of moral theologians in order to reflect on the classic tradition of the vices. It is crucial to the Christian understanding of sin that we recognize (a) we bear at least some responsibilities for injuries, and (b) God wants us to participate in the process of healing and conversion. Neither the sin itself nor the healing simply come from somewhere else; the task of naming sins enlists us as mature, growing disciples.
Each chapter takes on a different classical vice, describing the vice, exploring its dimensions in contemporary experience, and moving the reader toward naming specific sins that arise from the vice. The concluding chapters from Catholic priests explore two basic dimensions of the sacrament of penance: liturgical and communal.
The poems in this new volume by Abdourahman A. Waberi are introspective and inquisitive, reflecting a deep spiritual bond—with words, with the history of Islam and its great poets, with the landscapes those poets walked, among which Waberi grew up. The sage yearns here for the simplicity of each individual moment to somehow become eternal, for the histories and people that are part of him—his mother, his wife, his unborn child, the sacred texts that ground his being—to come together harmoniously within him, and to emerge through his words. Lyrical and personal, but with powerful historical and cultural resonances, these poems are the work of a master at the height of his powers.
Naming the World examines language shift among the Northern Arapaho of the Wind River Reservation, Wyoming, and the community’s diverse responses as it seeks social continuity. Andrew Cowell argues that, rather than a single “Arapaho culture,” we find five distinctive communities of practice on the reservation, each with differing perspectives on social and more-than-human power and the human relationships that enact power.
As the Arapaho people resist Euro-American assimilation or domination, the Arapaho language and the idea that the language is sacred are key rallying points—but also key points of contestation. Cowell finds that while many at Wind River see the language as crucial for maintaining access to more-than-human power, others primarily view the language in terms of peer-oriented identities as Arapaho, Indian, or non-White. These different views lead to quite different language usage and attitudes in relation to place naming, personal naming, cultural metaphors, new word formation, and the understudied practice of folk etymology.
Cowell presents data from conversations and other natural discourse to show the diversity of everyday speech and attitudes, and he links these data to broader debates at Wind River and globally about the future organization of indigenous societies and the nature of Arapaho and indigenous identity.
Naming What We Know, Classroom Edition examines the core principles of knowledge in the discipline of writing studies, using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. This edition focuses on the working definitions of thirty-seven threshold concepts that run throughout the research, teaching, assessment, and public work in writing studies. Developed from the highly regarded original edition in response to grassroots demand from teachers in writing programs around the United States and written by some of the field’s most active researchers and teachers, the classroom edition is clear and accessible for an audience of even first-year writing students.
Naming What We Know examines the core principles of knowledge in the discipline of writing studies using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.
Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.
At the beginning of the twentieth century, Hopi-Tewa potter Nampeyo revitalized Hopi pottery by creating a contemporary style inspired by prehistoric ceramics. Nampeyo (ca. 1860-1942) made clay pots at a time when her people had begun using manufactured vessels, and her skill helped convert pottery-making from a utilitarian process to an art form. The only potter known by name from that era, her work was unsigned and widely collected. Travel brochures on the Southwest featured her work, and in 1905 and 1907 she was a potter in residence at Grand Canyon National Park's Hopi House. This first biography of the influential artist is a meticulously researched account of Nampeyo's life and times. Barbara Kramer draws on historical documents and comments by family members not only to reconstruct Nampeyo's life but also to create a composite description of her pottery-making process, from gathering clay through coiling, painting, and firing. The book also depicts changes brought about on the Hopi reservation by outsiders and the response of American society to Native American arts.
A riveting oral history/biography of a pioneering woman aviator.
This is the story of an uncommon woman--high school cheerleader, campus queen, airplane pilot, wife, mother, politician, business-woman--who epitomizes the struggles and freedoms of women in 20th-century America, as they first began to believe they could live full lives and demanded to do so. World War II offered women the opportunity to contribute to the work of the country, and Nancy Batson Crews was one woman who made the most of her privileged beginnings and youthful talents and opportunities.
In love with flying from the time she first saw Charles Lindbergh in Birmingham, (October 1927), Crews began her aviation career in 1939 as one of only five young women chosen for Civilian Pilot Training at the University of Alabama. Later, Crews became the 20th woman of 28 to qualify as an "Original" Women's Auxiliary Ferrying Squadron (WAFS) pilot, employed during World War II shuttling P-38, P-47, and P-51 high-performance aircrafts from factory to staging areas and to and from maintenance and training sites. Before the war was over, 1,102 American women would qualify to fly Army airplanes. Many of these female pilots were forced out of aviation after the war as males returning from combat theater assignments took over their roles. But Crews continued to fly, from gliders to turbojets to J-3 Cubs, in a postwar career that began in California and then resumed in Alabama.
The author was a freelance journalist looking to write about the WASP (Women Airforce Service Pilots) when she met an elderly, but still vital, Nancy Batson Crews. The former aviatrix held a reunion of the surviving nine WAFS for an interview with them and Crews, recording hours of her own testimony and remembrance before Crews's death from cancer in 2001. After helping lead the fight in the '70s for WASP to win veteran status, it was fitting that Nancy Batson Crews was buried with full military honors.
This intriguing anthology brings together a broad range of critical essays on girls’ series fiction from established scholars such as Chamberlain, Johnson, and Romalov, along with emerging scholars Katrine Poe, Maureen Reed, and Deborah Siegel. Topics include: Anne of Green Gables, the Isabel Carleton series, early twentieth-century girls’ automobile series, girls’ scouting novels, 1910–1935, Cherry Ames in World War II, Nancy Drew, and Judy Bolton.
Nancy Hanks, Chairman of the National Endowment for the Arts (NEA) from 1969 to 1977, turned this fledgling organization into a major instrument for government support of the arts—accomplishing thereby a virtual revolution in the public arts policy of the United States. She died of cancer on January 7, 1983; later that year, at the request of Congress, President Ronald Reagan designated the building complex at Pennsylvania Avenue and 11th Street (the "Old Post Office") in Washington, D.C., as the Nancy Hanks Center.
This biography captures the spirit and the flavor of Ms. Hanks's remarkable life, above all during the eight years in which she led the Endowment. Tracing her childhood in Florida and North Carolina through her achievements as a student leader at Duke University, Straight makes clear her conscious effort to find a path with more scope than the usual marriage-and-a-family when expected of Southern women. Nancy Hanks went to Washington and found a job with the Office of War Mobilization. She later worked with Nelson Rockefeller, who became governor of New York, a Republican party luminary, and vice president under Gerald Ford, in addition to being an heir to one of America's greatest fortunes. Her relationship with Rockefeller was crucial to her personal life, and his conception of government and its role and a lasting influence on her career.
Straight examines Nancy Hanks's leadership of the NEA and takes particular note of the intense debate over the role of government in fostering American artistic expression, an issue with roots running back through the New Deal to the early history of the United States. Nancy Hanks took a strong and activist role in the formulation and administration of a national arts policy, and her accomplishments have left an indelible mark on public support for arts in the United States. Straight, who worked closely with Ms. Hanks and admired her despite frequent policy disagreements, deals honestly with both the successes and failures of her efforts. His biography imparts a sense of the reasons why her many friends felt such loyalty to this complex and gifted woman.
Nanobiosensors have been successful for in vitro as well as in vivo detection of several biomolecules and it is expected that this technology will revolutionize point-of-care and personalized diagnostics, and will be extremely applicable for early disease detection and therapeutic applications. This book describes the emerging nanobiosensor technologies which are geared towards onsite clinical applications and those which can be used as a personalised diagnostic device. Biosensor technologies and materials covered include electrochemical biosensors; implantable microbiosensors; microfluidic technology; surface plasmon resonance-based technologies; optical and fibre-optic sensors; lateral flow biosensors; lab on a chip; nanomaterials based (graphene, nanoparticles, nanocomposites, and other carbon nanomaterial) sensors; metallic nanobiosensors; wearable and doppler-based non-contact vital signs biosensors; and technologies for smartphone based disease diagnosis. Clinical applications of these technologies covered in this book include detection of various protein biomarkers, small molecules, cancer and bacterial cells; detection of foodborne pathogens; generation and optimisation of antibodies for biosensor applications; microRNAs and their applications in diagnosis for osteoarthritis; detection of circulating tumor cells; online heartbeat monitoring; analysis of drugs in body fluids; sensing of nucleic acids; and monitoring oxidative stress.
The demand for ever smaller and portable electronic devices has driven metal oxide semiconductor-based (CMOS) technology to its physical limit with the smallest possible feature sizes. This presents various size-related problems such as high power leakage, low-reliability, and thermal effects, and is a limit on further miniaturization. To enable even smaller electronics, various nanodevices including carbon nanotube transistors, graphene transistors, tunnel transistors and memristors (collectively called post-CMOS devices) are emerging that could replace the traditional and ubiquitous silicon transistor. This book explores these nanoelectronics at the circuit and systems levels including modelling and design approaches and issues.
Topics covered include self-healing analog and radio frequency circuits; on-chip gate delay variability measurement in scaled technology node; nanoscale finFET devices for PVT aware SRAM; data stability and write ability enhancement techniques for finFET SRAM circuits; low-leakage techniques for nanoscale CMOS circuits; thermal effects in carbon nanotube VLSI interconnects; lumped electro-thermal modeling and analysis of carbon nanotube interconnects; high-level synthesis of digital integrated circuits in the nanoscale mobile electronics era; SPICEless RTL design optimization of nanoelectronic digital integrated circuits; green on-chip inductors for three-dimensional integrated circuits; 3D network-on-chips; and DNA computing.
This book is essential reading for researchers, research-focused industry designers/developers, and advanced students working on next-generation electronic devices and circuits.
The demand for ever smaller and portable electronic devices has driven metal oxide semiconductor-based (CMOS) technology to its physical limit with the smallest possible feature sizes. This presents various size-related problems such as high power leakage, low-reliability, and thermal effects, and is a limit on further miniaturization. To enable even smaller electronics, various nanodevices including carbon nanotube transistors, graphene transistors, tunnel transistors and memristors (collectively called post-CMOS devices) are emerging that could replace the traditional and ubiquitous silicon transistor. This book explores these nanoelectronics at the device level including modelling and design.
Topics covered include high-k dielectrics; high mobility n and p channels on gallium arsenide and silicon substrates using interfacial misfit dislocation arrays; anodic metal-insulator-metal (MIM) capacitors; graphene transistors; junction and doping free transistors; nanoscale gigh-k/metal-gate CMOS and FinFET based logic libraries; multiple-independent-gate nanowire transistors; carbon nanotubes for efficient power delivery; timing driven buffer insertion for carbon nanotube interconnects; memristor modeling; and neuromorphic devices and circuits.
This book is essential reading for researchers, research-focused industry designers/developers, and advanced students working on next-generation electronic devices and circuits.
The rapid evolution of integrated circuit technology has brought with it many new materials and processing steps at the nano-scale which boost the electrical performance of devices, resulting in faster and more functionally-complex electronics. However, working at this reduced scale can bring second order effects that degrade efficiency and reliability.
This book describes methods for the characterization, modelling, and simulation prediction of these second order effects in order to optimise performance, energy efficiency and new uses of nano-scaled semiconductor devices. The devices and materials covered include bulk MOSFETs, silicon-on-insulator FET devices, FinFET devices, tunneling FETs, nanowires, quantum dots, amorphous and SiGe alloys, photodetectors and micro-machined bolometers, and CMOS process-compatible silicon-in-package. The modeling and characterisation methods include computer-aided-design tools; classical, semi-classical, and quantum-semi-classical approaches; impact of technology process on device modeling; measurement and extraction of basic electrical parameters; parasitic effects and de-embedding under non-conventional bias conditions; lifetime and failure mechanisms; bias temperature instability; time-dependent breakdown mechanisms; and new approaches for device characterization including magneto-conductance and magneto-tunneling.
Nano-Scaled Semiconductor Devices is essential reading for researchers and advanced students in academia, and industry working on electronic devices, nanotechnology and semiconductor characterization. The book also covers a review on applications with a high societal impact, such as; chain food production, smart and green urban environments, water decontamination, and energy efficiency, which may serve as a reference for governmental and environmental institutions working on green and sustainable world environment initiatives.
Michel Wautelet The Institution of Engineering and Technology, 2009 Library of Congress T174.7.N3667 2009 | Dewey Decimal 620.5
How can single atoms be manipulated? Are the laws of physics still valid at the nanostructure scale? How could nanotechnologies help cure disease? What are the application fields of nanotechnologies and what ethical issues do they raise? These questions and many others are answered in this clearly presented, fascinating book.
This updated second edition puts nanotechnologies into perspective by explaining issues in health, environmental and military application domains, and discusses the technology in the context of current media and ethical debates. It also introduces the ambitious, and perhaps almost utopian, NBIC programme (Nanotechnology, Biotechnology, Information technology and Cognitive science) - an initiative that foresees the 'reunification' of science by encouraging collaboration among specialists of different scientific domains.
Intended for a wide audience, this book will interest teachers and students of science, as well as those with a general interest in how modern technologies and the sciences interact.
The dawning era of nanotechnology promises to transform life as we know it. Visionary scientists are engineering materials and devices at the molecular scale that will forever alter the way we think about our technologies, our societies, our bodies, and even reality itself. Colin Milburn argues that the rise of nanotechnology involves a way of seeing that he calls “nanovision.” Trekking across the technoscapes and the dreamscapes of nanotechnology, he elaborates a theory of nanovision, demonstrating that nanotechnology has depended throughout its history on a symbiotic relationship with science fiction. Nanotechnology’s scientific theories, laboratory instruments, and research programs are inextricable from speculative visions, hyperbolic rhetoric, and fictional narratives.
Milburn illuminates the practices of nanotechnology by examining an enormous range of cultural artifacts, including scientific research articles, engineering textbooks, laboratory images, popular science writings, novels, comic books, and blockbuster films. In so doing, he reveals connections between the technologies of visualization that have helped inaugurate nano research, such as the scanning tunneling microscope, and the prescient writings of Robert A. Heinlein, James Blish, and Theodore Sturgeon. He delves into fictive and scientific representations of “gray goo,” the nightmare scenario in which autonomous nanobots rise up in rebellion and wreak havoc on the world. He shows that nanoscience and “splatterpunk” novels share a violent aesthetic of disintegration: the biological body is breached and torn asunder only to be refabricated as an assemblage of self-organizing machines. Whether in high-tech laboratories or science fiction stories, nanovision deconstructs the human subject and galvanizes the invention of a posthuman future.
Robert M. Neer Harvard University Press, 2013 Library of Congress UG447.65.N44 2013 | Dewey Decimal 355.8245
Napalm was invented on Valentine’s Day 1942 at a secret Harvard war research laboratory. It created an inferno that killed over 87,500 people in Tokyo—more than died in the atomic explosions at Hiroshima or Nagasaki—and went on to incinerate 64 Japanese cities. The Bomb got the press, but napalm did the work. Robert Neer offers the first history.
Based upon historical and archival research, as well as the author's years of fieldwork in indigenous communities, Michael Uzendoski's theoretically informed work analyzes value from the perspective of the Napo Runa people of the Amazonian Ecuador.
Written in a clear and readable style, The Napo Runa of Amazonian Ecuador presents theoretical issues of value, poetics, and kinship as linked to the author's intersubjective experiences in Napo Runa culture. Drawing on insights from the theory of gift and value, Uzendoski argues that Napo Runa culture personifies value by transforming things into people through a process of subordinating them to human relationships. While many traditional exchange models treat the production of things as inconsequential, the Napo Runa understand production to involve a relationship with natural beings (plants, animals, spirits of the forest), which are considered to be subjects that share spiritual substance, or samai. Throughout the book, value is revealed as the outcome of a complicated poetics of transformation by which things and persons are woven into kinship forms that define daily social and ritual life.
In this provocative history of parenting, Harry Hendrick analyzes the social and economic reasons behind parenting trends. He shows how broader social changes, including neoliberalism, feminism, the collapse of the social-democratic ideal, and the “new behaviorism,” have led to the rise of the anxious and narcissistic parent. The book charts the shift from the liberal and progressive parenting styles of the 1940s through the ’70s to the more behavioral, punitive, and managerial methods of childrearing today, made popular by so-called experts like Gina Ford and Supernanny Jo Frost and—in the United Kingdom—by New Labour parent education programs. This trend, Hendrick argues, is symptomatic of the sour, mean-spirited, and vindictive social norms found throughout society today. It undermines the better instincts of parents and, therefore, damages parent-child relationships. Instead, he proposes, parents should focus on understanding and helping their children as they do the hard work of growing up.
Narcissus Americana: Poems
Travis Mossotti University of Arkansas Press, 2018 Library of Congress PS3613.O788A6 2018 | Dewey Decimal 811.6
Winner, 2018 Miller Williams Poetry Prize
Narcissus Americana sings and scraps and wrestles its way across various landscapes—abandoned quarries, art museums, lavish homes, and tar pits—in a quest to attain a more complex vision of what it means to be upwardly mobile.
These poems question the usefulness of wealth and ownership as markers of success. Taking wine fridges and fake flowers as emblems of capitalism’s failure to assuage human loneliness, the speakers in these poems find joy in shared meals and glasses of wine, and use moments of mutual attention to challenge notions of class in America. Intimacy is on display in “Cruising Altitude,” where the speaker finds a sublime communion between two disparate worldviews during an in-flight conversation with his father:
I ask if his certainty about humanity’s course gives
his life some kind of purpose. He doesn’t sleep well.
I know this. I quote Yeats. He quotes scripture.
Light balances on the wing and casts its yellow spell. . . .
Sharply written, and with an eye for form, these poems engage with heavy inquiry but also know better than to take themselves too seriously, making it possible for, say, dungeons to share space with donuts, as in the poem “Rancho La Brea.”
Mossotti’s timely book invites the reader to traverse America, and see the nation anew, on a journey marked simultaneously by critical scrutiny and deep affection.
Offering a new understanding of the Hymn to Demeter, Ann Suter provides an analysis of methodological approaches, reconciling the seemingly disparate pieces of the complex narrative of the hymn. Examining evidence from other versions of the hymn's myths, as well as from Greek religion, linguistics, and archaeology, she lends a new understanding to the relationships among the hymn's personages--Persephone, Demeter, Hades, and Zeus--as they developed and crystallized, providing a new chronology for the cults of Demeter and Persephone at Eleusis.
The author analyzes the traditional language of the hymn and Persephone's retelling of her story to Demeter, arguing that the hymn involves an earlier tale of Demeter and Persephone that predates the seventh century. Suter uses anthropological applications to illustrate that the story of Persephone's abduction does not reflect a female initiation rite into adulthood, as has been argued, but rather an hieros gamos. These methodologies point to the conclusion that Persephone was once a powerful goddess in her own right, independent of Hades and of Demeter as well. To test the accuracy of these possibilities, the book next examines evidence from outside the hymn. Other versions of the two myths in the hymn support the idea that these myths--Persephone's abduction and Demeter's nursing of Demophoön--were once separate and were late combined to create a new story. Evidence from the chief archaeological sites, from vase painting and other artistic forms is provided to enhance the argument. Thus the evidence from outside the hymn supports the conclusions of the textual analyses, giving surprising substantiation that the hymn itself commemorates the early days of the worship of the goddesses as a mother/daughter pair.
This book will be of particular interest to scholars of religious history, art history, archaeology, and literature. It is also accessible to the general reader interested in Greek literature, myths, and religion.
Ann Suter is Associate Professor of Classical Studies, University of Rhode Island.
To this day, the perception persists that China was a civilization defeated by imperialist Britain's most desirable trade commodity, opium—a drug that turned the Chinese into cadaverous addicts in the iron grip of dependence. Britain, in an effort to reverse the damage caused by opium addiction, launched its own version of the "war on drugs," which lasted roughly sixty years, from 1880 to World War II and the beginning of Chinese communism. But, as Narcotic Culture brilliantly shows, the real scandal in Chinese history was not the expansion of the drug trade by Britain in the early nineteenth century, but rather the failure of the British to grasp the consequences of prohibition.
In a stunning historical reversal, Frank Dikötter, Lars Laamann, and Zhou Xun tell this different story of the relationship between opium and the Chinese. They reveal that opium actually had few harmful effects on either health or longevity; in fact, it was prepared and appreciated in highly complex rituals with inbuilt constraints preventing excessive use. Opium was even used as a medicinal panacea in China before the availability of aspirin and penicillin. But as a result of the British effort to eradicate opium, the Chinese turned from the relatively benign use of that drug to heroin, morphine, cocaine, and countless other psychoactive substances. Narcotic Culture provides abundant evidence that the transition from a tolerated opium culture to a system of prohibition produced a "cure" that was far worse than the disease.
Delving into a history of drugs and their abuses, Narcotic Culture is part revisionist history of imperial and twentieth-century Britain and part sobering portrait of the dangers of prohibition.
In volume 21 of the Arrington Lecture Series, Quincy Newell studies the life of Jane Elizabeth Manning James, an African American, born in 1822, who converted to Mormonism in 1843. The narrative of Jane's life has to date been told in versions that favored official LDS positions on race and gender at the time of their telling. Newell's study here brings contemporary historical scholarship and critical distance to bear on the facts and the meanings of Jane M. James's experience.
The Arrington Lecture series, established by one of the twentieth-century West's most distinguished historians, Leonard Arrington, has become a leading forum for prominent historians to address topics related to Mormon history. Utah State University hosts the Leonard J. Arrington Mormon History Lecture Series through the Merrill-Cazier Library Special Collections and Archives department.
Narrating Love and Violence is an ethnographic exploration of women’s stories from the Himalayan valley of Lahaul, in the region of Himachal Pradesh, India, focusing on how both, love and violence emerge (or function) at the intersection of gender, tribe, caste, and the state in India. Himika Bhattacharya privileges the everyday lives of women marginalized by caste and tribe to show how state and community discourses about gendered violence serve as proxy for caste in India, thus not only upholding these social hierarchies, but also enabling violence.
The women in this book tell their stories through love, articulated as rejection, redefinition and reproduction of notions of violence and solidarity. Himika Bhattacharya centers the women’s narratives as a site of knowledge—beyond love and beyond violence. This book shows how women on the margins of tribe and caste know both, love and violence, as agents wishing to re-shape discourses of caste, tribe and community.
Narrating Narcos presents a probing examination of the prominent role of narcotics trafficking in contemporary Latin American cultural production. In her study, Gabriela Polit Dueñas juxtaposes two infamous narco regions, Culiacán, Mexico, and Medellín, Colombia, to demonstrate the powerful forces of violence, corruption, and avarice and their influence over locally based cultural texts.
Polit Dueñas provides a theoretical basis for her methods, citing the work of Walter Benjamin, Pierre Bourdieu, and other cultural analysts. She supplements this with extensive ethnographic fieldwork, interviewing artists and writers, their confidants, relatives, and others, and documents their responses to the portrayal of narco culture. Polit Dueñas offers close readings of the characters, language, and milieu of popular works of literature and the visual arts and relates their ethical and thematic undercurrents to real life experiences. In both regions, there are few individuals who have not been personally affected by the narcotics trade. Each region has witnessed corrupt state, police, and paramilitary actors in league with drug capos. Both have a legacy of murder.
Polit Dueñas documents how narco culture developed at different times historically in the two regions. In Mexico, drugs have been cultivated and trafficked for over a century, while in Colombia the cocaine trade is a relatively recent development. In Culiacán, characters in narco narratives are often modeled after the serrano (highlander), a romanticized historic figure and sometime thief who nobly defied a corrupt state and its laws. In Medellín, the oft-portrayed sicario (assassin) is a recent creation, an individual recruited by drug lords from poverty stricken shantytowns who would have little economic opportunity otherwise. As Polit Dueñas shows, each character occupies a different place in the psyche of the local populace.
Narrating Narcos offers a unique melding of archival and ground-level research combined with textual analysis. Here, the relationship of writer, subject, and audience becomes clearly evident, and our understanding of the cultural bonds of Latin American drug trafficking is greatly enhanced. As such, this book will be an important resource for students and scholars of Latin American literature, history, culture, and contemporary issues.
Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, and Maoz Azaryahu offers a groundbreaking approach to understanding how space works in narrative and narrative theory and how narratives work in real space. Thus far, space has traditionally been viewed by narratologists as a backdrop to plot. This study argues that space serves important but under-explored narrative roles: It can be a focus of attention, a bearer of symbolic meaning, an object of emotional investment, a means of strategic planning, a principle of organization, and a supporting medium.
Space intersects with narrative in two principal ways: ‘‘Narrating space’’ considers space as an object of representation, while ‘‘spatializing narrative’’ approaches space as the environment in which narrative is physically deployed. The inscription of narrative in real space is illustrated by such forms as technology-supported locative narratives, street names, and historical/heritage site and museum displays. While narratologists are best equipped to deal with the narration of space, geographers can make significant contributions to narratology by drawing attention to the spatialization of narrative. By bringing these two approaches together—and thereby building a bridge between narratology and geography—Narrating Space / Spatializing Narrative yields both a deepened understanding of human spatial experience and greater insight into narrative theory and poetic forms.
The most common social phenomenon of Western societies is the organization, yet those
involved in real-world managing are not always willing to reveal the intricacies of their
everyday muddles. Barbara Czarniawska argues that in order to understand these uncharted
territories, we need to gather local and concrete stories about organizational life and subject
them to abstract and metaphorical interpretation.
Using a narrative approach unique to organizational studies, Czarniawska employs literary
devices to uncover the hidden workings of organizations. She applies cultural metaphors to
public administration in Sweden to demonstrate, for example, how the dynamics of a
screenplay can illuminate the budget disputes of an organization. She shows how the
interpretive description of organizational worlds works as a distinct genre of social analysis,
and her investigations ultimately disclose the paradoxical nature of organizational life: we follow
routines in order to change, and decentralize in order to control. By confronting such
paradoxes, we bring crisis to existing institutions and enable them to change.
The relationship between fiction and historiography in Francoist Spain (1939–1975) is a contentious one. The intricacies of this relationship, in which fiction works to subvert the regime’s authority to write the past, are the focus of David K. Herzberger’s book. The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the historical necessity of Franco by linking the regime to a heroic and Christian past, while several types of postwar fiction—such as social realism, the novel of memory, and postmodern novels—created a voice of opposition to this practice. Focusing on the concept of writing history that these opposing strategies convey, Herzberger discloses the layering of truth and meaning that lies at the heart of postwar Spanish narrative from the early 1940s to the fall of Franco. His study clearly reveals how the novel in postwar Spain became a crucial form of dissent from the past as it was conceived and used by the State. Making a decisive intervention in the debate about the ways in which narration determines both the meaning and truth of history and fiction, Narrating the Past will be of special interest to students and scholars of the politics, history, and literature of twentieth-century Spain.
“…a groundbreaking book that will…engage, inform, and connect with present and future teachers and teacher educators.”
---Stephanie Vandrick, Foreword to Narrating Their Lives
The field of TESOL has called attention to the ways that the issues of race and ethnicity, language status and power, and cultural background affect second language learners’ identities and, to some degree, those of teachers. In Narrating Their Lives, Kamhi-Stein examines the process of identity construction of classroom teachers so as to make connections between their personal and professional identities and their instructional practices. To do that, she has selected six autobiographical narratives from teachers who were once part of her TESL 570 (Educational Sociolinguistics) class in the MA TESOL program at California State University, Los Angeles. These six narratives cover a surprisingly wide range of identity issues but also touch on broader instructional themes that are part of teacher education programs.
Because of the reflective nature of the narratives—with the teachers using their stories to better understand how their experiences shape what they do in the classroom—this volume includes provocative chapter-opening and reflective chapter-closing questions. An informative discussion of the autobiographical narrative assignment and the TESL 570 course (including supplemental course readings and assessment criteria) is also included.
Narration: Four Lectures
Gertrude Stein University of Chicago Press, 2010 Library of Congress PN187.S73 2010 | Dewey Decimal 808.3
Newly famous in the wake of the publication of her groundbreaking Autobiography of Alice B. Toklas, Gertrude Stein delivered her Narration lectures to packed audiences at the University of Chicago in 1935. Stein had not been back to her home country since departing for France in 1903, and her remarks reflect on the changes in American culture after thirty years abroad.
In Stein’s trademark experimental prose, Narration reveals the legendary writer’s thoughts about the energy and mobility of the American people, the effect of modernism on literary form, the nature of history and its recording, and the inventiveness of the English language—in particular, its American variant. Stein also discusses her ambivalence toward her own literary fame as well as the destabilizing effect that notoriety had on her daily life. Restored to print for a new generation of readers to discover, these vital lectures will delight students and scholars of modernism and twentieth-century literature.
“Narration is a treasure waiting to be rediscovered and to be pirated by jolly marauders of sparkling texts.”—Catharine Stimpson, NYU
Most films tell tales, but what does that involve? How do motion pictures tease us into building what we all agree to call stories? In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives. The result is a pioneering, far-reaching work which will change the way we perceive narrative film—and which every serious film scholar, student or fan will welcome.
“This book is of crucial importance to film specialists. I cannot think that any film teacher/scholar would miss reading this work.”—Don Fredricksen, Cornell University
“David Bordwell’s Narration in the Fiction Film is a major contribution to film studies and to narrative theory. The work, I predict, will be widely read, praised, debated, and damned. Brodwell’s originality lies not so much in demonstrating the deficiencies of other theories, which he does very convincingly, but in the scope and design of his project, against which there is no competition of comparable intellectual weight.”—Jerry Carlson, DePaul University
This collection of essays studies the encounter between allegedly ahistorical concepts of narrative and eighteenth-century literature from across Europe. At issue is the question of whether the theoretical concepts underpinning narratology are, despite their appearance of ahistorical generality, actually derived from the historical study of a particular period and type of literature. The essays take on aspects of eighteenth-century texts such as plot, genre, character, perspective, temporality, and more, coming at them from both a narratological and a historical perspective.
In Narrative Discourse: Authors and Narrators in Literature, Film, and Art, Patrick Colm Hogan reconsiders fundamental issues of authorship and narration in light of recent research in cognitive and affective science. He begins with a detailed overview of the components of narrative discourse, both introducing and reworking key principles. Based on recent studies treating the complexity of human cognition, Hogan presents a new account of implied authorship that solves some notorious problems with that concept.
In subsequent chapters Hogan takes the view that implied authorship is both less unified and more unified than is widely recognized. In connection with this notion, he examines how we can make interpretive sense of the inconsistencies of implied authors within works and the continuities of implied authors across works. Turning to narrators, he considers some general principles of readers’ judgments about reliability, emphasizing the emotional element of trust. Following chapters take up the operation of complex forms of narration, including parallel narration, embedded narration, and collective voicing (“we” narration). In the afterword, Hogan sketches some subtleties at the other end of narrative communication, considering implied readers and narratees. In order to give greater scope to the analyses, Hogan develops case studies from painting and film as well as literature, treating art by Rabindranath Tagore; films by David Lynch, Bimal Roy, and Kabir Khan; and literary works by Mirabai, Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Margaret Atwood, Ngugi wa Thiong’o, and Joseph Diescho.
Adam Zachary Newton Harvard University Press, 1995 Library of Congress PN49.N52 1995 | Dewey Decimal 809.39353
The ethics of literature, formalists have insisted, resides in the moral quality of a character, a story, perhaps the relation between author and reader. But in the wake of deconstruction and various forms of criticism focusing on difference, the ethical question has been freshly negotiated by literary studies, and to this approach Adam Newton brings a startling new thrust. His book makes a compelling case for understanding narrative as ethics. Assuming an intrinsic and necessary connection between the two, Newton explores the ethical consequences of telling stories and fictionalizing character, and the reciprocal claims binding teller, listener, witness, and reader in the process. He treats these relations as defining properties of prose fiction, of particular import in nineteenth- and twentieth-century texts.
Newton's fresh and nuanced readings cover a wide range of authors and periods, from Charles Dickens to Kazuo Ishiguro and Julian Barnes, from Herman Melville to Richard Wright, from Joseph Conrad and Henry James to Sherwood Anderson and Stephen Crane. An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry. To that end, Newton braids together the ethical-philosophical projects of Emmanuel Levinas, Stanley Cavell, and Mikhail Bakhtin as a kind of chorus for his textual analyses--an elegant bridge between philosophy's ear and literary criticism's voice. His work will generate enormous interest among scholars and students of English and American literature, as well as specialists in narrative and literary theory, hermeneutics, and contemporary philosophy.
Table of Contents:
Narrative as Ethics Toward a Narrative Ethics We Die in a Last Word: Conrad's Lord Jimand Anderson's Winesburg, Ohio Lessons of (for) the Master: Short Fiction by Henry James Creating the Uncreated Features of His Face: Monstration in Crane, Melville, and Wright Telling Others: Secrecy and Recognition in Dickens, Barnes, and Ishiguro Conclusion
Reviews of this book: Newton's book will become a pivotal text in our discussions of the ethical implications of reading. He has taken into account a great deal of prior work, and written with judgment and wisdom. --Daniel Schwartz, Narrative
Reviews of this book: Newton offers elegant, provocative readings of texts ranging from The Rime of the Ancient Mariner to Winesburg, Ohio, The Remains of the Day, and Bleak House...Newton's book is a rich vein of critical ore that can be mined profitably. --Choice
Reading Narrative Ethics is a powerful experience, for it engages not just the intellect, but the emotions, and dare I say, the spirit. It stands apart from recent books on ethics in literature by virtue of its severe insistence o its allegiance to an alternative ethical tradition. This alternative way of thinking--and living--has its roots in the work of the Jewish philosopher Emmanuel Levinas and finds support in the writings of Mikhail Bakhtin and Stanley Cavell...Stories, Newton asserts, are not ethical because of their morals or because of their normative logic. They are ethical because of the work they perform, in the social world, of binding teller, listener, witness, and reader to one another...This is a work of passion, integrity, commitment, and mission. --Jay Clayton, Vanderbilt University
Newton probes with admirable subtlety the key question: what do we gain--and what dangers do we run--when we fully enter the life of an 'other' through that 'other's' story? We have here a rare combination of deep and learned critical acumen with passionate love for literature and sensitivity to its nuances. --Wayne C. Booth, University of Chicago
Adam Zachary Newton writes with illuminating passion. Drawing on writers as diverse as Conrad and Henry James, Melville and Sherwood Anderson, Bakhtin and Levinas, he asks what it is to turn one's life into a story for another, and what it is to respond to, or avoid the claim of, another person's narration. He has written a wonderful, important book. --Martha Nussbaum, University of Chicago
Narrative Experiments was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In Narrative Experiments, Gayle Ormiston and Ralph Sassower bring a refreshing perspective to the domains of inquiry we call "science" and "technology," asserting that traditional definitions (like classical idealism and materialism) fail to suggest the rich and complex cultural/linguistic interplay occurring between them. This context is not merely a background, nor is Ormiston and Sassower's just one more interdisciplinary approach to the subject. Instead, their book argues, science, technology, and the humanities developed in concert with one another, and their reciprocity obliterates all traditional disciplinary boundaries.
Ormiston and Sassower build their case by devoting a chapter to each of the four themes emerging from the etymological introduction. First, they look at the role fiction and other literary modes play in developing our attitudes toward science and technology -- how the visions of Bacon, Hobbes, Galileo, Rousseau, Mary Shelley, and Orwell evoke both anxiety and hope. Next, they examine a series of eighteenth-century "fictions" -- the Enlightenment texts of Kant, Rousseau, and Hume -- and the elevated (but ambiguous) status science and technology associated with them. The last two chapters evaluate modes of discursive authority and its dissemination -- classical and modern extralinguistic approaches; the contemporary-linguistic view espoused by Rorty, Quine, and others; and their own avowedly experimental journey through the labyrinths of cultural and linguistic usage.
When the impulse toward innovation arises late in a writer's career, it is often accompanied by a sense of urgency, and the result, as Narrative Innovation and Incoherence demonstrates, raises important questions for literary theory. Michael M. Boardman considers this pressing struggle to find a new form as it appears in the later works of Defoe, Goldsmith, Austen, Eliot, and Hemingway. He analyzes how these authors react to new and compelling beliefs for which a previous way of writing is no longer adequate. Urgent innovations, in this account, can only be understood as unique, individual responses to crises in belief. Taking as a point of departure French theorist Althusser's conviction that ideology is intelligible only through structure, Boardman searches for an explanation of both form and ideology not in Marxist concepts of base and superstructure but in the particular structure of an individual artist's writing career. Narrative ideology here becomes more complex than is generally assumed. Theoretically informed yet avoiding essentializing explanations of narrative invention, Narrative Innovation and Incoherence offers unexpected insights into the multifaceted relations between form and belief. It will encourage serious students of the novel to reexamine the importance of poetics as a mediating factor in the means of production.
Islamic extremism is the dominant security concern of many contemporary governments, spanning the industrialized West to the developing world. Narrative Landmines explores how rumors fit into and extend narrative systems and ideologies, particularly in the context of terrorism, counter-terrorism, and extremist insurgencies. Its concern is to foster a more sophisticated understanding of how oral and digital cultures work alongside economic, diplomatic, and cultural factors that influence the struggles between states and non-state actors in the proverbial battle of hearts and minds. Beyond face-to-face communication, the authors also address the role of new and social media in the creation and spread of rumors.
As narrative forms, rumors are suitable to a wide range of political expression, from citizens, insurgents, and governments alike, and in places as distinct as Singapore, Iraq, and Indonesia—the case studies presented for analysis. The authors make a compelling argument for understanding rumors in these contexts as “narrative IEDs,” low-cost, low-tech weapons that can successfully counter such elaborate and expansive government initiatives as outreach campaigns or strategic communication efforts. While not exactly the same as the advanced technological systems or Improvised Explosive Devices to which they are metaphorically related, narrative IEDs nevertheless operate as weapons that can aid the extremist cause.
Narrative theorists have lavished attention on beginnings and endings, but they have too often neglected the middle of narratives. In this groundbreaking collection of essays, Narrative Middles: Navigating the Nineteenth-Century British Novel, nine literary scholars offer innovative approaches to the study of the underrepresented middle of the vast, bulky nineteenth-century multiplot novel. Combining rigorous formal analysis with established sociohistorical methods, these essays seek to account for the various ways in which the novel gave shape to British culture’s powerful obsession with middles. The capacious middle of the nineteenth-century novel provides ample room for intricately woven plots and the development of complex character systems, but it also becomes a medium for capturing, consecrating, and cultivating the middle class and its middling, middlebrow tastes as well as its mediating global role in empire. Narrative Middles explores these fascinating conjunctions in new readings of novels by Jane Austen, William Makepeace Thackeray, Anne Brontë, George Eliot, Charles Dickens, Wilkie Collins, Henry James, and William Morris. Contributors: Amanda Claybaugh, Suzanne Daly, Amanpal Garcha, Amy King, Caroline Levine, Mario Ortiz-Robles, Kent Puckett, Hilary Schor, and Alex Woloch.
This book brings back into print, for the first time since the 1830s, a text that was central to the transatlantic campaign to fully abolish slavery in Britain’s colonies. James Williams, an eighteen-year-old Jamaican “apprentice” (former slave), came to Britain in 1837 at the instigation of the abolitionist Joseph Sturge. The Narrative he produced there, one of very few autobiographical texts by Caribbean slaves or former slaves, became one of the most powerful abolitionist tools for effecting the immediate end to the system of apprenticeship that had replaced slavery. Describing the hard working conditions on plantations and the harsh treatment of apprentices unjustly incarcerated, Williams argues that apprenticeship actually worsened the conditions of Jamaican ex-slaves: former owners, no longer legally permitted to directly punish their workers, used the Jamaican legal system as a punitive lever against them. Williams’s story documents the collaboration of local magistrates in this practice, wherein apprentices were routinely jailed and beaten for both real and imaginary infractions of the apprenticeship regulations. In addition to the complete text of Williams’s original Narrative, this fully annotated edition includes nineteenth-century responses to the controversy from the British and Jamaican press, as well as extensive testimony from the Commission of Enquiry that heard evidence regarding the Narrative’s claims. These fascinating and revealing documents constitute the largest extant body of direct testimony by Caribbean slaves or apprentices.
Published in 1855, a rare autobiography of a woman who was persecuted for living in a traditional masculine role
Lucy Ann Lobdell (1829–1912) was an ordinary woman whose extraordinary life was shaped by personal strife and the hardship of life in early nineteenth-century upstate New York. Struggling with an abusive husband, a young child, ailing parents, and financial strain, Lucy did what was necessary to support her family. In a rural world defined by farming and lumbering, she dressed, labored, and lived in a traditional masculine role. Her prowess as a rifle shot and fiddle player were known locally, but because of her unconventional, androgynous lifestyle, she became a target of public gossip and ridicule. Educated and eloquent, Lucy penned and published, Lucy Ann Lobdell, the Female Hunter of Delaware and Sullivan Counties, N.Y., in 1855. The narrative provides a unique look at the persecution of a woman whose only “offense” was disregard for contemporary societal norms. After her husband was killed during the Civil War, she received a widow’s pension. Ostracized and eventually hospitalized in 1880, she underwent torturous treatment until she confessed to a doctor that she was “a man in all that the name implies,” a self-serving report the doctor used to promote his career.
Whether Lucy was a lesbian, cross dresser, or transgender, we don’t know from the historical record, but as Lisa Macchia Ohliger demonstrates in The Narrative of Lucy Ann Lobdell: A Woman’s Case for Equality, Lucy embodied the nascent women’s rights movement. At the same time, and not far from where Lucy lived and went to school, Amelia Bloomer was advocating the right for women to wear pants and was publishing the feminist newspaper, The Lily, while Susan B. Anthony was pushing for land rights and equal pay for women. All of these issues are found in Lucy’s account. Lucy’s life is an illustration of the historical significance and destructive power of gender in society, and her narrative bears painful witness to the clash between taboo and survival.
No book more vividly explains the horror of American slavery and the emotional impetus behind the antislavery movement than Frederick Douglass' Narrative. In an introductory essay, Robert Stepto re-examines the extraordinary life and achievement of a man who escaped from slavery to become a leading abolitionist and one of America's most important writers. The John Harvard Library text reproduces the first edition, published in Boston in 1845.
This is a critical edition, based on the Agnes Beaumont manuscripts in the British Library: Beaumont's homely account of the persecutions she endured from her father and suitor because of riding horseback behind the great preacher to a meeting is here presented in its original form. She rejects the traditional doctrine of women's subordination.
In Narrative Paths: African Travel in Modern Fiction and Nonfiction, Kai Mikkonen argues that early twentieth-century European travel writing, journal keeping, and fiction converged and mutually influenced each other in ways that inform current debates about the fiction–nonfiction distinction. Turning to narratives set in sub-Saharan Africa, Mikkonen identifies five main dimensions of interplay between fiction and nonfiction: the experiential frame of the journey, the redefinition of the language and objective of description, the shared cultural givens and colonial notions concerning sub-Saharan Africa, the theme of narrativisation, and the issue of virtual genres. Narrative Paths reveals the important role that travel played as a frame in these modernist fictions as well as the crucial ways that nonfiction travel narratives appropriated fictional strategies.
Narrative Paths contributes to debates in narratology and rhetorical narrative theory about the fiction–nonfiction distinction. With chapters on a wide range of modernist authors—from Pierre Loti, André Gide, Michel Leiris, and Georges Simenon to Blaise Cendrars, Louis-Ferdinand Céline, Joseph Conrad, Graham Greene, Evelyn Waugh, and Isak Dinesen (Karen Blixen)—Mikkonen’s study also contributes to postcolonial approaches to these authors, examining issues of representation, narrative voice, and authority in narratives about colonial Africa.
Narrative Policy Analysis presents a powerful and original application of contemporary literary theory and policy analysis to many of today’s most urgent public policy issues. Emery Roe demonstrates across a wide array of case studies that structuralist and poststructuralist theories of narrative are exceptionally useful in evaluating difficult policy problems, understanding their implications, and in making effective policy recommendations. Assuming no prior knowledge of literary theory, Roe introduces the theoretical concepts and terminology from literary analysis through an examination of the budget crises of national governments. With a focus on several particularly intractable issues in the areas of the environment, science, and technology, he then develops the methodology of narrative policy analysis by showing how conflicting policy "stories" often tell a more policy-relevant meta-narrative. He shows the advantage of this approach to reading and analyzing stories by examining the ways in which the views of participants unfold and are told in representative case studies involving the California Medfly crisis, toxic irrigation in the San Joaquin Valley, global warming, animal rights, the controversy over the burial remains of Native Americans, and Third World development strategies. Presenting a bold innovation in the interdisciplinary methodology of the policy sciences, Narrative Policy Analysis brings the social sciences and humanities together to better address real-world problems of public policy—particularly those issues characterized by extreme uncertainty, complexity, and polarization—which, if not more effectively managed now, will plague us well into the next century.
Narrative Prosthesis: Disability and the Dependencies of Discourse develops a narrative theory of the pervasive use of disability as a device of characterization in literature and film. It argues that, while other marginalized identities have suffered cultural exclusion due to a dearth of images reflecting their experience, the marginality of disabled people has occurred in the midst of the perpetual circulation of images of disability in print and visual media. The manuscript's six chapters offer comparative readings of key texts in the history of disability representation, including the tin soldier and lame Oedipus, Montaigne's "infinities of forms" and Nietzsche's "higher men," the performance history of Shakespeare's Richard III, Melville's Captain Ahab, the small town grotesques of Sherwood Anderson's Winesburg, Ohio and Katherine Dunn's self-induced freaks in Geek Love.
David T. Mitchell is Associate Professor of Literature and Cultural Studies, Northern Michigan University. Sharon L. Snyder is Assistant Professor of Film and Literature, Northern Michigan University.
Narrative, Race, and Ethnicity in the United States, edited by James J. Donahue, Jennifer Ho, and Shaun Morgan, is the first book-length volume of essays devoted to studying the intersection of race/ethnicity and narrative theories. Each chapter offers a sustained engagement with narrative theory and critical race theory as applied to ethnic American literature, exploring the interpretive possibilities of this critical intersection. Taken as a whole, these chapters demonstrate some of the many ways that the formal study of narrative can help us better understand the racial/ethnic tensions of narrative fictions. Similarly, the essays advance the tools of narrative theory by redeploying or redesigning those tools to better account for and articulate the ways that race and ethnicity are formal components of narrative as well as thematic issues.
Recognizing that racial/ethnic issues and tensions are often contextualized geographically, this volume focuses on narratives associated with various racial and ethnic communities in the United States. By engaging with new developments in narrative theory and critical race studies, this volume demonstrates the vitality of using the tools of narratology and critical race theory together to understand how race influences narrative and how narratology illuminates a reading of race in ethnic American literature.
Since Aristotle, there has been an assumption that narrative is a representation of actions or sequences of events, that this representation aims to elicit emotions, and that well-formed narratives constitute a whole, with a beginning, a middle, and an end. The nature, role, and relative importance of constituent notions like “sequence of events” and “plot” have been discussed repeatedly and, as a result, have become rather slippery. While recent developments in contemporary narrative theory, such as unnatural, transmedial, cognitive, and functionalist narratology, shed new light on these notions, Narrative Sequence in Contemporary Narratology goes beyond specific approaches to narrative, illuminating sequence and plot in all the diversity of their manifestations, forms, and functions.
This volume, edited by Raphaël Baroni and Françoise Revaz, includes contributions from some of the most influential scholars in narrative studies: Alain Boillat, Peter Hühn, Emma Kafalenos, Franco Passalacqua, James Phelan, Federico Pianzola, John Pier, Gerald Prince, Brian Richardson, Marie-Laure Ryan, Eyal Segal, and Michael Toolan. Essays range in focus from musical narrativity and rhetorical narrative theory to comic strips and re-examinations of classical and postclassical narratology. All of the essays contribute fresh understandings of foundational concepts in the field of narratology.
Narrative Structures and the Language of the Self by Matthew Clark offers a new way of thinking about the interrelation of character and plot. Clark investigates the characters brought together in a narrative, considering them not as random collections but as structured sets that correspond to various manifestations of the self. The shape and structure of these sets can be thought of as narrative geometry, and various geometries imply various theories of the self. Part One, “Philosophical Fables of the Self,” examines narratives such as The Talented Mr. Ripley,A Farewell to Arms,A Separate Peace, and The Master of Ballantrae in order to show successively more complex versions of the self as modeled by Descartes, Hegel, Freud, and Mead. Part Two, “The Case of the Subject,” uses Case Grammar to extend the discussion to additional roles of the self in narratives such as The Waves,The Great Gatsby,Fifth Business, and Howards End as examples of the self as experiencer, the self as observer, the instrumental self, and the locative self. The book ends with an extended analysis of the subject in Hartley’s The Go-Between. Throughout, the discussion is concerned with practical analysis of specific narratives and with the development of an understanding of the self that moves beyond the simple dichotomy of the self and the other, the subject and the object.
Research on human intelligence has postulated that studying the structure and use of stories can provide important insight into the roots of self and the nature of thinking. In that spirit, this volume focuses on narrative as a crossroads where cognitive and social psychology, linguistics, literary theory, and the recent hybrid called "cognitive narratology" intersect, suggesting new directions for the cognitive sciences. The ideas contained here demonstrate the importance of narrative as a cognitive style, a genre of discourse, and a resource for literary writing and other forms of communication.
Narrative Theory: Core Concepts and Critical Debates addresses two frequently asked questions about narrative studies: “what is narrative theory?” and “how do different approaches to narrative relate to each other?” In engaging with these questions, the book demonstrates the diversity and vitality of the field and promotes a broader dialogue about its assumptions, methods, and purposes.
In Part One, the co-authors explore the scope and aims of narrative from four distinct perspectives: rhetorical (Phelan and Rabinowitz), feminist (Warhol), mind-oriented (Herman), and unnatural (Richardson). Using case studies (Huckleberry Finn, Persuasion, On Chesil Beach, and Midnight’s Children, respectively), the co-authors explain their different takes on the same core concepts: authors, narrators, narration; plot, time, and progression; space, setting, and perspective; character; reception and the reader; and narrative values. In Part Two, the co-authors respond to one another’s views. As they discuss the relation of the approaches to each other, they highlight significant current debates and map out key developments in the field.
Accessibly written, Narrative Theory can serve as the basis for a wide range of courses, even as its incisive presentation of four major approaches and its lively give-and-take about the powers and limitations of each make the book an indispensable resource for specialists.
Under the bold banner of Narrative Theory Unbound: Queer and Feminist Interventions, editors Robyn Warhol and Susan S. Lanser gather a diverse spectrum of queer and feminist challenges to the theory and interpretation of narrative. The first edited collection to bring feminist, queer, and narrative theories into direct conversation with one another, this anthology places gender and sexuality at the center of contemporary theorizing about the production, reception, forms, and functions of narrative texts.
Through twenty-one essays prefaced by a cogent history of the field, Narrative Theory Unbound offers new perspectives on narrative discourse and its constituent elements; on intersectional approaches that recognize race, religion, and national culture as integral to understanding sexuality and gender; on queer temporalities; on cognitive research; and on lifewriting in graphic, print, and digital constellations. Exploring genres ranging from reality TV to fairy tales to classical fiction, contributors explore the thorny, contested relationships between feminist and queer theory, on the one hand, and between feminist/queer theory and contemporary narratologies, on the other. Rather than aiming for cohesiveness or conclusiveness, the collection stages open-ended debates designed to unbind the assumptions that have kept gender and sexuality on the periphery of narrative theory.
"Bob Cover was and remains the dominant voice of his generation among legal scholars. These essays, each one magnificent in itself, are, when taken together, even more important. The wisdom they impart is forever." --Guido Calabresi, Dean and Sterling Professor of Law, Yale University
"Robert Cover drew his sources for the authority of law--for its violence, but also for its paideic potential--from the structuring stories that spark our communal imaginations. Literally until the day of his untimely death, his irreplaceably restless spirit was binding itself with the pages of the Midrash, of The Brothers Karamazov, of Billy Budd, Sailor. It is for us now to work also with these--Bob Cover's stories."--Richard Weisberg, Benjamin N. Cardozo Law School, Yeshiva University
"The writings of Robert Cover were usually provocative, sometimes exasperating, but always relevant. In his last years, he concentrated on Jewish sources as well as mystical and Messianic thought. This collection of his articles is a thesaurus of some of his finest writings."--Robert F. Drinan, S.J., Georgetown University Law Center
The late Robert Cover was Professor of Law, Yale Law School. Martha Minow is Professor of Law, Harvard Law School. Michael Ryan is Professor of English, Northeastern University. Austin Sarat is William Nelson Cromwell Professor of Jurisprudence and Political Science and Chair of the Program in Law, Jurisprudence, and Social Thought, Amherst College.