A household icon of the environmental movement, Aldo Leopold (1887-1948) may be the most quoted conservationist in history. A Sand County Almanac has sold millions of copies and Leopold's writings are venerated for their perceptions about land and how people might live in concert with the whole community of life.
But who is the man behind the words? How did he arrive at his profound and poetic insights, inspiring generations of environmentalists? Building on past scholarship and a fresh study of Leopold's unpublished archival materials, Julianne Lutz Newton retraces the intellectual journey generated by such passion and intelligence.
Aldo Leopold's Odyssey illuminates his lifelong quest for answers to a fundamental issue: how can people live prosperously on the land and keep it healthy, too? Leopold's journey took him from Iowa to Yale to the Southwest to Wisconsin, with fascinating stops along the way to probe the causes of early land settlement failures, contribute to the emerging science of ecology, and craft a new vision for land use.
More than a biography, this articulate volume is a guide to one man's intellectual growth, and an inspirational resource for anyone pondering the relationships between people and the land.
In 2006, Julianne Lutz Warren (née Newton) asked readers to rediscover one of history’s most renowned conservationists. Aldo Leopold’s Odyssey was hailed by The New York Times as a “biography of ideas,” making “us feel the loss of what might have followed A Sand County Almanac by showing us in authoritative detail what led up to it.” Warren’s astute narrative quickly became an essential part of the Leopold canon, introducing new readers to the father of wildlife ecology and offering a fresh perspective to even the most seasoned scholars.
A decade later, as our very concept of wilderness is changing, Warren frames Leopold’s work in the context of the Anthropocene. With a new preface and foreword by Bill McKibben, the book underscores the ever-growing importance of Leopold’s ideas in an increasingly human-dominated landscape.
Drawing on unpublished archives, Warren traces Leopold’s quest to define and preserve land health. Leopold's journey took him from Iowa to Yale to the Southwest to Wisconsin, with fascinating stops along the way to probe the causes of early land settlement failures, contribute to the emerging science of ecology, and craft a new vision for land use.
Leopold’s life was dedicated to one fundamental dilemma: how can people live prosperously on the land and keep it healthy, too? For anyone compelled by this question, the Tenth Anniversary Edition of Aldo Leopold’s Odyssey offers insight and inspiration.
With Artist as Author, Christa Noel Robbins provides the first extended study of authorship in mid-20th century abstract painting in the US. Taking a close look at this influential period of art history, Robbins describes how artists and critics used the medium of painting to advance their own claims about the role that they believed authorship should play in dictating the value, significance, and social impact of the art object. Robbins tracks the subject across two definitive periods: the “New York School” as it was consolidated in the 1950s and “Post Painterly Abstraction” in the 1960s. Through many deep dives into key artist archives, Robbins brings to the page the minds and voices of painters Arshile Gorky, Jack Tworkov, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Agnes Martin along with those of critics such as Harold Rosenberg and Rosalind Krauss. While these are all important characters in the polemical histories of American modernism, this is the first time they are placed together in a single study and treated with equal measure, as peers participating in the shared late modernist moment.
As head of Suhrkamp Verlag, a premier German publishing house, Siegfried Unseld is eminently qualified to write about the relationship between authors and their publishers—and he does so here with engaging partisan enthusiasm. Long familiar with what he terms the Janus-headed nature of the publishing profession, Unseld considers the dual responsibilities of a publisher: in one direction, his responsibility for the material success of his firm; and in the other, his responsibility to the intellectual ideals and spiritual requirements of his authors.
Through close examination of four writers, Unseld shows how the author's personality can affect the publisher's dilemma. Hermann Hesse, by virtue of his loyalty and his desire for financial independence, enjoyed an exemplary relationship with his publishers. With Bertolt Brecht it was all confusion; with Rainer Maria Rilke, a one-author-one-publisher lifetime alliance; with Swiss poet Robert Walser, a mire of difficulties ("Each book printed," he once said, was "a grave for its author").
Justin Weir develops a persuasive analysis of the complex relationship between authorial self-reflection and literary tradition in three of the most famous Russian novels of the first half of the twentieth century: Bulgakov's The Master and Margarita, Pasternak's Doctor Zhivago, and Nabokov's The Gift. With Weir's innovative interpretation, and its compelling historical, cultural, and theoretical insights, The Author as Hero offers a new view of an important moment in the evolution of Russian literature.
The Prometheus Bound has proved to be both the most problematic and the most influential of extant Greek tragedies. Especially during the past two hundred years the character here created has transcended the boundaries of nationality, ideology, and race: Goethe, Shelley, Marx, and—to judge by other published translations—modern Russia and China have in turn been fascinated by this being who is tortured by the gods for furthering the progress of humanity. Yet the interpretation of the play itself and its relation to the group of now-lost plays with which it was originally produced continue to arouse violent controversy. At the center of the controversy stand the questions, raised with increasing urgency during the twentieth century, whether the play is by Aeschylus at all and when it was written. This monograph attempts a systematic answer to these questions. It first surveys the general conditions of the authenticity problem as they appeared after the redating of Aeschylus’ Supplices. Next, it catalogues in detail the stylistic, metrical, and thematic features of the Prometheus that have been supposed to tell against Aeschylus’ authorship. Finally, it suggests that these phenomena will not make sense on the assumption that the play was written by anyone other than Aeschylus, and that the date of composition must fall after the Oresteia, in the last two years of Aeschylus’ life. Given this definite context and date, many of the apparent problems of the Prometheus Bound either fall away or at least can be more precisely formulated by reference to the other extant tragedies of Aeschylus’ latest phase.
For more than thirty years, David Cronenberg has made independent films such as Scanners and A History of Violence which aim to disturb, surprise, and challenge audiences. He has also repeatedly drawn on literary fiction for inspiration, adapting themes from authors like William Burroughs, J. G. Ballard, and Patrick McGrath for the big screen; David Cronenberg: Author or Filmmaker? is the first book to explore how underground and mainstream fiction have influenced—and can help illuminate—his labyrinthine films.
Film scholar Mark Browning examines Cronenberg’s literary aesthetic not only in relation to his films’ obvious source material, but by comparing his movies to the writings of Vladimir Nabokov, Angela Carter, and Bret Easton Ellis. This groundbreaking volume addresses Cronenberg’s narrative structures and his unique conception of auteurism, as well as his films’ shocking psychological frameworks, all in the broader context of film adaptation studies. David Cronenberg is an essential read for anyone interested in the symbiotic relationship between literature and filmmaking.
“David Cronenberg is a work that attempts to illuminate and unravel the connection between the great Canadian auteur and his literary influences.”—Film Snob Weekly
“David Cronenberg is an essential read for anyone interested in the symbiotic relationship between literature and filmmaking.”—Video Canada
For thirty years the "death of the author" has been a familiar poststructuralist slogan in literary theory, widely understood and much debated as a dismissal of the author, a declaration of the writer's irrelevance to the readers experience. In this concise book, Jane Gallop revitalizes this hackneyed concept by considering not only the abstract theoretical death of the author but also the writer's literal death, as well as other authorial "deaths" such as obsolescence. Through bravura close readings of the influential literary theorists Roland Barthes, Jacques Derrida, Eve Kosofsky Sedgwick, and Gayatri Chakravorty Spivak, she shows that the death of the author is best understood as a relation to temporality, not only for the reader but especially for the writer. Gallop does not just approach the death of the author from the reader's perspective; she also reflects at length on how impending death haunts the writer. By connecting an author's theoretical, literal, and metaphoric deaths, she enables us to take a fuller measure of the moving and unsettling effects of the deaths of the author on readers and writers, and on reading and writing.
For a generation or more, literary theorists have used the metaphor of "the death of the author" in considering the observation that to write is to abdicate control over the meanings one's text is capable of generating. But in the case of AIDS diaries, the metaphor can be literal. Facing It examines the genre not in classificatory terms but pragmatically, as the site of a social interaction. Through a detailed study of three such diaries, originating respectively in France, the United States, and Australia, Ross Chambers demonstrates that issues concerning the politics of AIDS writing and the ethics of reading are linked by a common concern with the problematics of survivorhood. Two of the diaries chosen for special attention in this light are video diaries: La Pudeur ou l'impudeur by Hervé Guibert (author of To the Friend Who Did Not Save My Life), and Silverlake Life, by the American videomaker Tom Joslin (aided by his lover and friends, notably Peter Friedman). The third is a defiant but anxious text, Unbecoming, by an American anthropologist, Eric Michaels, who died in Brisbane, Australia, in 1988. Other authors more briefly examined include Pascal de Duve, Bertrand Duquénelle, Alain Emmanuel Dreuilhe, David Wojnarowicz, Gary Fisher, and the filmmaker (not a diarist) Laurie Lynd. Finally, Facing It takes on the issue of its own relevance, asking what contributions literary criticism can make in the midst of an epidemic.
"Groundbreaking in its approach and potentially wide in its appeal. . . . The rigor of the ideas, their dramatic nature, and the political drive of the rhetoric all should win Facing It a large readership that could extend far beyond students of narrative or queer theory." --David Bergman, Towson University, editor of Camp Grounds: Style and Homosexuality
Ross Chambers is Distinguished University Professor of French and Comparative Literature, University of Michigan, and author of Room for Maneuver: Reading (the) Oppositional (in) Narrative and Story and Situation: Narrative Seduction and the Power of Fiction.
The production, reception and discussion of fanfiction is a major aspect of contemporary global media. Thus far, however, the genre has been subject to relatively little rigorous qualitative or quantitative study-a problem that Judith M. Fathallah remedies here through close analysis of fanfiction related to Sherlock, Supernatural, and Game of Thrones. Her large-scale study of the sites, reception, and fan rejections of fanfic demonstrate how the genre works to legitimate itself through traditional notions of authorship, even as it deconstructs the author figure and contests traditional discourses of authority. Through a process she identifies as the 'legitimation paradox', Fathallah demonstrates how fanfic hooks into and modifies the discourse of authority, and so opens new spaces for writing that challenges the authority of media professionals.
Throughout the nineteenth century, American readers and reviewers assumed that a book revealed its author's individuality, that the experience of reading was a kind of conversation with the writer. Yet as Barbara Hochman shows in this illuminating study, the emergence of literary realism at the turn of the century called such assumptions into question. The realist aesthetic of narrative "objectivity" challenged the notion that a literary text reflects its author's personality.
But reading practices were slow to change; many resisted the effort to reconceptualize the relationship among writers, readers, and books. Even the most consistent advocates of "impartial" narration found it difficult to imagine a book without an author or to dissociate the experience of reading from the idea of a reciprocal human transaction.
In analyzing the battle over realism and the gradual shift in conventional reading practices, Hochman draws on a rich array of sources, including popular works, advertisements, and letters. She combines traditional modes of literary inquiry with methods adapted from the new historicism, cultural studies, and book history. By elucidating the realists' ambivalence about their own aesthetic criteria, she shows how a late nineteenth century conflict about reading practices reflected pressing tensions in American culture, and how that conflict shaped criteria of literary value for most of the twentieth century.
Ibsen's Drama was first published in 1979. 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.
"A dramatist for all seasons" Einar Haugen calls Henrik Ibsen in this series of lectures given in honor of the 150th anniversary of the Norwegian playwright's birth. Using a modified version of the communications model developed by linguist Roman Jakobson, Haugen provides a readable, succinct analysis of Ibsen's thinking and dramaturgy. He examines the ways in which Ibsen the author communicated with his nineteenth-century audience and is able, still, to move and inform playgoers today.
Haugen brings to this work a lifetime of familiarity with Ibsen in Norwegian and in translation, and he draws upon his own experience as a theatergoer and as an observer of student and audience reaction to the plays. Ibsen's Drama will bring pleasure and a deeper understanding of the playwright to students and playgoers alike.
Einar Haugen is Victor S. Thomas Professor of Scandinavian and Linguistics, emeritus, at Harvard University. He is author, editor, or translator of many books and articles in linguistics, literature, and immigrant history, notably The Norwegian Language in America (1953), The Scandinavian Languages (1976), and Land of the Free (1978).
In this influential study, Steven Pinker develops a new approach to the problem of language learning. Now reprinted with new commentary by the author, this classic work continues to be an indispensable resource in developmental psycholinguistics.
Reviews of this book: "The contribution of [Pinker's] book lies not just in its carefully argued section on learnability theory and acquisition, but in its detailed analysis of the empirical consequences of his assumptions."
--Paul Fletcher, Times Higher Education Supplement
"One of those rare books which every serious worker in the field should read, both for its stock of particular hypotheses and analyses, and for the way it forces one to re-examine basic assumptions as to how one's work should be done. Its criticisms of other approaches to language acquisition...often go to the heart of the difficulties."
--Michael Maratsos, Language
"[A] new edition, with a new preface from the author, of the influential monograph originally published in 1984 in which Pinker proposed one of the most detailed (and according to some, best) theories of language development based upon the sequential activation of different language-acquisition algorithms. In his new preface, the author reaches the not very modest conclusion that, despite the time elapsed, his continues to be the most complete theory of language development ever developed. A classic of the study of language acquisition, in any case."
Modern philosophy finds it difficult to give a satisfactory picture of the place of minds in the world. In Mind and World, one of the most distinguished philosophers writing today offers his diagnosis of this difficulty and points to a cure.
The recent fiction of Spanish America has been widely acclaimed for its experimental and revolutionary qualities. In Reclaiming the Author, Lucille Kerr studies the sources of power of this newly emergent literature in her detailed examination of the critical concept of "the author." Kerr considers how Spanish American narratives raise questions about authorial identity and activity through the different figures of the author they propose. These author-figures, she maintains, both complement and contradict notions of authority that exist outside of the world of fiction. By focusing on works by well-known Spanish American authors—Cortazar, Donoso, Fuentes, Poniatowska, Puig, and Vargas Llosa—Kerr shows how the Spanish Americans have formed a radical poetics of the author. Her readings demonstrate how exemplary Spanish American texts, such as Rayuela, Terra nostra, and El hablador, call into question the author as a unitary or uniform, and therefore unproblematical, figure. Individually and together, Kerr's readings reclaim "the author" as a complex critical concept encompassing diverse, conflicting, even competitive roles.
Why is it that business in California's Silicon Valley flourished while along Route 128 in Massachusetts declined in the 90s? The answer, Saxenian suggests, has to do with the fact that despite similar histories and technologies, Silicon Valley developed a decentralized but cooperative industrial system while Route 128 came to be dominated by independent, self-sufficient corporations. The result of more than one hundred interviews, this compelling analysis highlights the importance of local sources of competitive advantage in a volatile world economy.
In Re-reading Poets, Paul Kameen offers a deep reflection on the importance of poets and poetry to the reader. Through his historical, philosophical, scholarly, and personal commentary on select poems, Kameen reveals how these works have helped him form a personal connection to each individual poet. He relates their profound impact not only on his own life spent reading, teaching, and writing poetry, but also their potential to influence the lives of readers at every level.
In an examination of works by William Wordsworth, Samuel Taylor Coleridge, Walt Whitman, and others, Kameen seeks to sense each author’s way of seeing, so that author and reader may meet in a middle ground outside of their own entities where life and art merge in deeply intimate ways. Kameen counters ideologies such as New Criticism and poststructuralism that marginalize the author, and instead focuses on the author as a vital presence in the interpretive process. He analyzes how readers look to the past via “tradition,” conceptualizing history in ways that pre-process texts and make it difficult to connect directly to authors. In this vein, Kameen employs examples from T. S. Eliot, Martin Heidegger, and Mikhail Bakhtin.
Kameen examines how people become poets and how that relates to the process of actually writing poems. He tells of his own evolution as a poet and argues for poetry as a means to an end beyond the poetic, rather than an end in itself. In Re-reading Poets, Kameen’s goal is not to create a new dictum for teaching poetry, but rather to extend poetry’s appeal to an audience far beyond academic walls.
For Rousseau, "consecrating one's life to the truth" (his personal credo) meant publicly taking responsibility for what one publishes and only publishing what would be of public benefit. Christopher Kelly argues that this commitment is central to understanding the relationship between Rousseau's writings and his political philosophy.
Unlike many other writers of his day, Rousseau refused to publish anonymously, even though he risked persecution for his writings. But Rousseau felt that authors must be self-restrained, as well as bold, and must carefully consider the potential political effects of what they might publish: sometimes seeking the good conflicts with writing the truth. Kelly shows how this understanding of public authorship played a crucial role in Rousseau's conception—and practice—of citizenship and political action.
Rousseau as Author will be a groundbreaking book not just for Rousseau scholars, but for anyone studying Enlightenment ideas about authorship and responsibility.
Tracing Samuel Johnson's rocky climb from anonymity to fame, in the course of which he came to stand for both the greatness of English literature and the good sense of the common reader, Lipking shows how this life transformed the very nature of authorship.
A series of closely interrelated essays on game theory, this book deals with an area in which progress has been least satisfactory—the situations where there is a common interest as well as conflict between adversaries: negotiations, war and threats of war, criminal deterrence, extortion, tacit bargaining. It proposes enlightening similarities between, for instance, maneuvering in limited war and in a traffic jam; deterring the Russians and one’s own children; the modern strategy of terror and the ancient institution of hostages.