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1760 books about European and 134
1760 books about European
134 start with C start with C
134 start with C start with C
C. P. Cavafy
The Economics of Metonymy
Panagiotis Roilos
University of Illinois Press, 2009
Konstantinos P. Kavafis--known to the English-reading world as C. P. Cavafy--has been internationally recognized as an important poet and attracted the admiration of eminent literary figures such as E. M. Forster, F. T. Marinetti, W. H. Auden, George Seferis, and James Merrill. Cavafy's idiosyncratic poetry remains one of the most influential and perplexing voices of European modernism.
Focusing on Cavafy's intriguing work, this book navigates new territories in critical theory and offers an interdisciplinary study of the construction of (homo)erotic desire in poetry in terms of metonymic discourse and anti-economic libidinal modalities. Panagiotis Roilos shows that problematizations of art production, market economy, and trafficability of erôs in diverse late-nineteenth and early twentieth-century European sociocultural and political contexts were re-articulated in Cavafy's poetry in new subversive ways that promoted an "unorthodox" discursive and libidinal anti-economy of jouissance.
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The Calamity Form
On Poetry and Social Life
Anahid Nersessian
University of Chicago Press, 2020
Romanticism coincided with two major historical developments: the Industrial Revolution, and with it, a turning point in our relationship to the earth, its inhabitants, and its climate. Drawing on Marxism and philosophy of science, The Calamity Form shines new light on Romantic poetry, identifying a number of rhetorical tropes used by writers to underscore their very failure to make sense of our move to industrialization.
Anahid Nersessian explores works by Friedrich Hölderlin, William Wordsworth, John Keats, and others to argue that as the human and ecological costs of industry became clear, Romantic poetry adopted formal strategies—among them parataxis, the setting of elements side by side in a manner suggestive of postindustrial dissonance, and apostrophe, here an address to an absent or vanishing natural environment—as it tried and failed to narrate the calamities of capitalism. These tropes reflect how Romantic authors took their bewilderment and turned it into a poetics: a theory of writing, reading, and understanding poetry as an eminently critical act. Throughout, Nersessian pushes back against recent attempts to see literature as a source of information on par with historical or scientific data, arguing instead for an irreducibility of poetic knowledge. Revealing the ways in which these Romantic works are of their time but not about it, The Calamity Form ultimately exposes the nature of poetry’s relationship to capital—and capital’s ability to hide how it works.
Anahid Nersessian explores works by Friedrich Hölderlin, William Wordsworth, John Keats, and others to argue that as the human and ecological costs of industry became clear, Romantic poetry adopted formal strategies—among them parataxis, the setting of elements side by side in a manner suggestive of postindustrial dissonance, and apostrophe, here an address to an absent or vanishing natural environment—as it tried and failed to narrate the calamities of capitalism. These tropes reflect how Romantic authors took their bewilderment and turned it into a poetics: a theory of writing, reading, and understanding poetry as an eminently critical act. Throughout, Nersessian pushes back against recent attempts to see literature as a source of information on par with historical or scientific data, arguing instead for an irreducibility of poetic knowledge. Revealing the ways in which these Romantic works are of their time but not about it, The Calamity Form ultimately exposes the nature of poetry’s relationship to capital—and capital’s ability to hide how it works.
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Capital Letters
Hugo, Baudelaire, Camus, and the Death Penalty
Ève Morisi
Northwestern University Press, 2020
Capital Letters sheds new light on how literature has dealt with society’s most violent legal institution, the death penalty. It investigates this question through the works of three major French authors with markedly distinct political convictions and literary styles: Victor Hugo, Charles Baudelaire, and Albert Camus.
Working at the intersection of poetics, ethics, and law, Ève Morisi uncovers an unexpected transhistorical dialogue between the modern death penalty and the ends and means of literature after the French Revolution. Through close textual analysis, careful contextualization, and the critique of violence forged by Giorgio Agamben, Michel Foucault, and René Girard, Morisi reveals that, despite their differences, Hugo, Baudelaire, and Camus converge in questioning France’s humanitarian redefinition of capital punishment dating from the late eighteenth century.
Conversely, capital justice leads all three writers to interrogate the functions, tools, and limits of their art. Capital Letters shows that the key modern debate on the political and moral responsibility, or autonomy, of literature crystallizes around the death penalty. Inflecting traditional modes of representation and writing self-reflexively and/or self-critically, Hugo, Baudelaire, and Camus unsettle the commonly accepted divide between strictly aesthetic and politically committed writing. Form, rather than overtly political argument, at once conveys an ethical critique of justice and reflects on the possibilities, and duties, of literature.
Working at the intersection of poetics, ethics, and law, Ève Morisi uncovers an unexpected transhistorical dialogue between the modern death penalty and the ends and means of literature after the French Revolution. Through close textual analysis, careful contextualization, and the critique of violence forged by Giorgio Agamben, Michel Foucault, and René Girard, Morisi reveals that, despite their differences, Hugo, Baudelaire, and Camus converge in questioning France’s humanitarian redefinition of capital punishment dating from the late eighteenth century.
Conversely, capital justice leads all three writers to interrogate the functions, tools, and limits of their art. Capital Letters shows that the key modern debate on the political and moral responsibility, or autonomy, of literature crystallizes around the death penalty. Inflecting traditional modes of representation and writing self-reflexively and/or self-critically, Hugo, Baudelaire, and Camus unsettle the commonly accepted divide between strictly aesthetic and politically committed writing. Form, rather than overtly political argument, at once conveys an ethical critique of justice and reflects on the possibilities, and duties, of literature.
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Caribbeana
An Anthology of English Literature of the West Indies, 1657-1777
Edited by Thomas W. Krise
University of Chicago Press, 1999
Although the colonies in the West Indies were as important to the expanding British empire as those in North America, writings from the British West Indies have been conspicuously absent from anthologies of seventeenth- and eighteenth-century British literature. In this first literary anthology dedicated to the region, Thomas W. Krise gathers important but little-known descriptions, poems, narratives, satires, and essays written in and about this culturally rich and politically tempestuous region.
Caribbeana offers invaluable period commentaries on slavery, colonialism, gender relations, African and European history, natural history, agriculture, and medicine. Highlights include several of the earliest protests against slavery; a superb ode by the Cambridge-educated Afro-Jamaican poet Francis Williams; James Grainger's extended georgic poem, The Sugar Cane; Frances Seymour's poignant tale of the Englishman Inkle who sells his Indian savior-lover Yarico into slavery; and several descriptions of the West Indies during the early years of settlement.
Caribbeana offers invaluable period commentaries on slavery, colonialism, gender relations, African and European history, natural history, agriculture, and medicine. Highlights include several of the earliest protests against slavery; a superb ode by the Cambridge-educated Afro-Jamaican poet Francis Williams; James Grainger's extended georgic poem, The Sugar Cane; Frances Seymour's poignant tale of the Englishman Inkle who sells his Indian savior-lover Yarico into slavery; and several descriptions of the West Indies during the early years of settlement.
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Carnal Rhetoric
Milton’s Iconoclasm and the Poetics of Desire
Lana Cable
Duke University Press, 1995
In recent years, New Historicists have situated the iconoclasm of Milton’s poetry and prose within the context of political, cultural, and philosophical discourses that foreshadow early modernism. In Carnal Rhetoric, Lana Cable carries these investigations further by exploring the iconoclastic impulse in Milton’s works through detailed analyses of his use of metaphor. Building on a provocative iconoclastic theory of metaphor, she breaks new ground in the area of affective stylistics, not only as it pertains to the writings of Milton but also to all expressive language.
Cable traces the development of Milton’s iconoclastic poetics from its roots in the antiprelatical tracts, through the divorce tracts and Areopagitica, to its fullest dramatic representation in Eikonoklastes and Samson Agonistes. Arguing that, like every creative act, metaphor is by nature a radical and self-transgressing agent of change, she explores the site where metaphoric language and imaginative desire merge. Examining the demands Milton places on metaphor, particularly his emphasis on language as a vehicle for mortal redemption, Cable demonstrates the ways in which metaphor acts for him as that creative and radical agent of change. In the process, she reveals Milton’s engagement, at the deepest levels of linguistic creativity, with the early modern commitment to an imaginative and historic remaking of the world.
An insightful and synthetic book, Carnal Rhetoric will appeal to scholars of English literature, Milton, and the Renaissance, as well as to those with an interest in the theory of affective stylistics as it pertains to reader-response criticism, semantics, epistemology, and the philosophy and psychology of language.
Cable traces the development of Milton’s iconoclastic poetics from its roots in the antiprelatical tracts, through the divorce tracts and Areopagitica, to its fullest dramatic representation in Eikonoklastes and Samson Agonistes. Arguing that, like every creative act, metaphor is by nature a radical and self-transgressing agent of change, she explores the site where metaphoric language and imaginative desire merge. Examining the demands Milton places on metaphor, particularly his emphasis on language as a vehicle for mortal redemption, Cable demonstrates the ways in which metaphor acts for him as that creative and radical agent of change. In the process, she reveals Milton’s engagement, at the deepest levels of linguistic creativity, with the early modern commitment to an imaginative and historic remaking of the world.
An insightful and synthetic book, Carnal Rhetoric will appeal to scholars of English literature, Milton, and the Renaissance, as well as to those with an interest in the theory of affective stylistics as it pertains to reader-response criticism, semantics, epistemology, and the philosophy and psychology of language.
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Carnival
Entertainments and Posthumous Tales
Isak Dinesen
University of Chicago Press, 1979
Carnival is an animated collection of works from every stage of Isak Dinesen's career. Many were written during her most creative years but set aside; others she wrote "just for entertainment." The collection includes "Second Meeting," her last work, and the title story, the first written under her now-famous pen name. None of these stories has previously appeared in book form in English. Three of them were translated especially for this collection by P. M. Mitchell and W. D. Paden.
"The editors have included only material that will stand easily with her more familiar work and satisfy her large following. . . . The rough drafts and variant treatments have been set aside for scholars."—Joseph McLellan, Washington Post
"The wit, the imagination, the elevated philosophical dialogue mark most of the stories in this volume as vintage Dinesen . . . of special interest to Dinesen fans."—Robert Langbaum, New York Times Book Review
"The editors have included only material that will stand easily with her more familiar work and satisfy her large following. . . . The rough drafts and variant treatments have been set aside for scholars."—Joseph McLellan, Washington Post
"The wit, the imagination, the elevated philosophical dialogue mark most of the stories in this volume as vintage Dinesen . . . of special interest to Dinesen fans."—Robert Langbaum, New York Times Book Review
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Cartographic Humanism
The Making of Early Modern Europe
Katharina N. Piechocki
University of Chicago Press, 2019
What is “Europe,” and when did it come to be? In the Renaissance, the term “Europe” circulated widely. But as Katharina N. Piechocki argues in this compelling book, the continent itself was only in the making in the fifteenth and sixteenth centuries.
Cartographic Humanism sheds new light on how humanists negotiated and defined Europe’s boundaries at a momentous shift in the continent’s formation: when a new imagining of Europe was driven by the rise of cartography. As Piechocki shows, this tool of geography, philosophy, and philology was used not only to represent but, more importantly, also to shape and promote an image of Europe quite unparalleled in previous centuries. Engaging with poets, historians, and mapmakers, Piechocki resists an easy categorization of the continent, scrutinizing Europe as an unexamined category that demands a much more careful and nuanced investigation than scholars of early modernity have hitherto undertaken. Unprecedented in its geographic scope, Cartographic Humanism is the first book to chart new itineraries across Europe as it brings France, Germany, Italy, Poland, and Portugal into a lively, interdisciplinary dialogue.
Cartographic Humanism sheds new light on how humanists negotiated and defined Europe’s boundaries at a momentous shift in the continent’s formation: when a new imagining of Europe was driven by the rise of cartography. As Piechocki shows, this tool of geography, philosophy, and philology was used not only to represent but, more importantly, also to shape and promote an image of Europe quite unparalleled in previous centuries. Engaging with poets, historians, and mapmakers, Piechocki resists an easy categorization of the continent, scrutinizing Europe as an unexamined category that demands a much more careful and nuanced investigation than scholars of early modernity have hitherto undertaken. Unprecedented in its geographic scope, Cartographic Humanism is the first book to chart new itineraries across Europe as it brings France, Germany, Italy, Poland, and Portugal into a lively, interdisciplinary dialogue.
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Caspar David Friedrich and the Subject of Landscape
Second Edition
Joseph Leo Koerner
Reaktion Books, 2009
Caspar David Friedrich (1774–1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe’s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective—one in which, as Freidrich wrote, the painter depicts not “what he sees before him, but what he sees within him.” This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.
Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.
“This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent
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The Cat and the Human Imagination
Feline Images from Bast to Garfield
Katharine M. Rogers
University of Michigan Press, 2001
The Cat and the Human Imagination is a fascinating historical survey of the changing cultural attitudes towards cats and the myriad ways that they have been depicted in literature and art. Feline images have permeated civilization since the time of the ancient Egyptians, and during this time the status of the cat has changed dramatically. The book examines the changing images-- fertility goddess, sly little predator, agent of Satan, avenging witness, aristocrat, friend, spirit of the home, bloodthirsty killer, seductive female--and relates them to the contexts in which they arose. It also analyzes how human attitudes towards cats seem to have evolved in parallel with attitudes towards animals, towards authority, and towards gender.
Western literature and visual art have reflected this change, developing from bare sketches to richly varied expressions of feline personality and human interaction with cats. Katharine M. Rogers seeks out the cats who make appearances in an impressive range of literary and artistic works, providing the first critical look at the symbolic functioning of cat characters in Poe's "The Black Cat," Dickens's Bleak House, and Zola's Therese Raquin, among other literary works. The historical and artistic range covered is impressive, creating a rich compendium that is the ideal book for the cat lover seeking a refreshingly substantial and scholarly work about this fascinating animal.
"This book is a classic-- something every cat-loving intellectual will have to own. (No one, of course, ever really owns a cat--but everyone should own this book.) It's the kind of book you want to quote from at the vet's, or cocktail parties, or whenever you get the urge to convert a dog lover to the true faith." --Emily Toth, Louisiana State University
Katharine M. Rogers is Professor Emerita of English, City University of New York. Her previous books include Feminism in Eighteenth-Century England and Frances Burney: The World of "Female Difficulties."
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Catarina the Wise and Other Wondrous Sicilian Folk and Fairy Tales
Collected by Giuseppe Pitrè
University of Chicago Press, 2017
Well, gentlemen, here’s a tale that people have told time and again . . . .
So begins the title story in this collection of fifty Sicilian folk and fairy tales edited and translated by noted folklore scholar Jack Zipes. But while some of the stories may sound as if they’ve been told time and again—such as variations on Cinderella and Puss in Boots—many will enchant English-language readers and storytellers for the first time. From “The Pot of Basil” to “The Talking Belly,” “The Little Mouse with the Stinky Tail” to “Peppi, Who Wandered out into the World,” the stories in Catarina the Wise range from simple tales of getting a new dress or something good to eat to fantastical plots for outwitting domineering husbands, rescuing impoverished fathers, or attracting wealthy suitors (frequently the Prince of Portugal). Many feature strong, clever women (usually daughters who become queen). Many are funny; many are wise. Some are very, very strange.
As Zipes relates, the true story of their origins is as extraordinary as the tales themselves. Born to a poor family of sailors in Palermo, Giuseppe Pitrè would go on to serve with Garibaldi, become a traveling country doctor, and gather one of the most colossal collections of folk and fairy tales of the nineteenth century. But while his work as a folklorist rivaled that of the Brothers Grimm, Pitrè remains a relative unknown. Catarina the Wise highlights some of the most delectable stories at the heart of his collection. Featuring new, original illustrations, this book is a beautiful, charming treasure for any fan of story, storytelling, and heroines and heroes living happily ever after—sometimes.
So begins the title story in this collection of fifty Sicilian folk and fairy tales edited and translated by noted folklore scholar Jack Zipes. But while some of the stories may sound as if they’ve been told time and again—such as variations on Cinderella and Puss in Boots—many will enchant English-language readers and storytellers for the first time. From “The Pot of Basil” to “The Talking Belly,” “The Little Mouse with the Stinky Tail” to “Peppi, Who Wandered out into the World,” the stories in Catarina the Wise range from simple tales of getting a new dress or something good to eat to fantastical plots for outwitting domineering husbands, rescuing impoverished fathers, or attracting wealthy suitors (frequently the Prince of Portugal). Many feature strong, clever women (usually daughters who become queen). Many are funny; many are wise. Some are very, very strange.
As Zipes relates, the true story of their origins is as extraordinary as the tales themselves. Born to a poor family of sailors in Palermo, Giuseppe Pitrè would go on to serve with Garibaldi, become a traveling country doctor, and gather one of the most colossal collections of folk and fairy tales of the nineteenth century. But while his work as a folklorist rivaled that of the Brothers Grimm, Pitrè remains a relative unknown. Catarina the Wise highlights some of the most delectable stories at the heart of his collection. Featuring new, original illustrations, this book is a beautiful, charming treasure for any fan of story, storytelling, and heroines and heroes living happily ever after—sometimes.
[more]
Catastrophizing
Materialism and the Making of Disaster
Gerard Passannante
University of Chicago Press, 2019
When we catastrophize, we think the worst. We make too much of too little, or something of nothing. Yet what looks simply like a bad habit, Gerard Passannante argues, was also a spur to some of the daring conceptual innovations and feats of imagination that defined the intellectual and cultural history of the early modern period.
Reaching back to the time between the Renaissance and the Enlightenment, Passannante traces a history of catastrophizing through literary and philosophical encounters with materialism—the view that the world is composed of nothing but matter. As artists, poets, philosophers, and scholars pondered the physical causes and material stuff of the cosmos, they conjured up disasters out of thin air and responded as though to events that were befalling them. From Leonardo da Vinci’s imaginative experiments with nature’s destructive forces to the fevered fantasies of doomsday astrologers, from the self-fulfilling prophecies of Shakespeare’s tragic characters to the mental earthquakes that guided Kant toward his theory of the sublime, Passannante shows how and why the early moderns reached for disaster when they ventured beyond the limits of the sensible. He goes on to explore both the danger and the critical potential of thinking catastrophically in our own time.
Reaching back to the time between the Renaissance and the Enlightenment, Passannante traces a history of catastrophizing through literary and philosophical encounters with materialism—the view that the world is composed of nothing but matter. As artists, poets, philosophers, and scholars pondered the physical causes and material stuff of the cosmos, they conjured up disasters out of thin air and responded as though to events that were befalling them. From Leonardo da Vinci’s imaginative experiments with nature’s destructive forces to the fevered fantasies of doomsday astrologers, from the self-fulfilling prophecies of Shakespeare’s tragic characters to the mental earthquakes that guided Kant toward his theory of the sublime, Passannante shows how and why the early moderns reached for disaster when they ventured beyond the limits of the sensible. He goes on to explore both the danger and the critical potential of thinking catastrophically in our own time.
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Cato's Tears and the Making of Anglo-American Emotion
Julie Ellison
University of Chicago Press, 1999
How did the public expression of feeling become central to political culture in England and the United States? In this ambitious revisionist account of a much expanded "Age of Sensibility," Julie Ellison traces the evolution of the politics of emotion on both sides of the Atlantic from the late seventeenth to the early nineteenth century.
Early popular dramas of this time, Ellison shows, linked male stoicism with sentimentality through portrayals of stoic figures whose civic sacrifices bring other men to tears. Later works develop a different model of sensibility, drawing their objects of sympathy from other races and classes—Native Americans, African slaves, servants. Only by examining these texts in light of the complex masculine tradition of stoic sentimentality, Ellison argues, can one interpret women's roles in the culture of sensibility.
In her conclusion, Ellison offers "a short history of liberal guilt," exploring the enduring link between male stoicism and male sensibility in political and cultural life from the late seventeenth century to today.
Early popular dramas of this time, Ellison shows, linked male stoicism with sentimentality through portrayals of stoic figures whose civic sacrifices bring other men to tears. Later works develop a different model of sensibility, drawing their objects of sympathy from other races and classes—Native Americans, African slaves, servants. Only by examining these texts in light of the complex masculine tradition of stoic sentimentality, Ellison argues, can one interpret women's roles in the culture of sensibility.
In her conclusion, Ellison offers "a short history of liberal guilt," exploring the enduring link between male stoicism and male sensibility in political and cultural life from the late seventeenth century to today.
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Censorship and Interpretation
Annabel M. Patterson
University of Wisconsin Press, 1991
Annabel Patterson explores the effects of censorship on both writing and reading in early modern England, drawing analogies and connections with France during the same period.
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CENTENARY ED WORKS NATHANIEL HAWTHORNE
VOL. XX, THE CONSULAR LETTERS, 18561857
NATHANIEL HAWTHORNE
The Ohio State University Press, 1988
"Because it represents the first scholarly effort to establish texts as close as possible to the intentions of the author, this Centenary Edition makes obsolete all previous editions, notorious for their textual corruption. An eminent staff . . . has analyzed and synthesized the evidence of all MSS and worthwhile printed editions. Each volume includes a well documented introduction concerning such matters as circumstances leading to composition and history of publication as well as textual notes on alterations in the MSS, editorial emendations, etc." --Choice
"The Centenary Edition, which has been producing weighty volumes of definitively edited texts of Hawthorne for a full generation, is now the sine qua non of Hawthorne scholarship. As an example of editorial care and research thoroughness it has been a model for the profession and as a physical object a model for publishers. In addition to the immensely important achievement of producing fully accurate texts of the romances, tales, and sketches, the Centenary editors have made available, for the very first time, all of the various Notebooks and letters. For the letters, especially, the wait has been long but the result is gratifying. Reading straight through the Centenary's six volumes of letters is a self-indulgent pleasure that brings us markedly closer to the man than we can get in any other way." --American Literature
Representing decades of work, this is the definitive edition of Hawthorne's works. Each volume includes comprehensive notes and explanatory material.
I: The Scarlet Letter $62.95 cloth 0-8142-0059-1
II: The House of the Seven Gables $69.95 cloth 0-8142-0060-5
III: The Blithedale Romance and Fanshawe $72.95 cloth 0-8142-0061-3
IV: The Marble Faun $83.95 cloth 0-8142-0062-1
V: Our Old Home $72.95 cloth 0-8142-0002-8
VI: True Stories from History and Biography $72.95 cloth 0-8142-0157-1
VII: A Wonder Book and Tanglewood Tales $72.95 cloth 0-8142-0158-X
VIII: The American Notebooks $98.95 cloth 0-8142-0159-8
IX: Twice-told Tales $83.95 cloth 0-8142-0202-0
X: Mosses from an Old Manse $83.95 cloth 0-8142-0203-9
XI: The Snow Image and Uncollected Tales $72.95 cloth 0-8142-0204-7
XII: The American Claimant Manuscripts $83.95 cloth 0-8142-0251-9
XIII: The Elixir of Life Manuscripts $98.95 cloth 0-8142-0252-7
XIV: The French and Italian Notebooks $98.95 cloth 0-8142-0256-X
XV: The Letters, 1813-1843 $98.95 cloth 0-8142-0363-9
XVI: The Letters, 1843-1853 $98.95 cloth 0-8142-0364-7
XVII: The Letters, 1853-1856 $83.95 cloth 0-8142-0365-5
XVIII: The Letters, 1857-1864 $98.95 cloth 0-8142-0383-3
XIX: The Consular Letters, 1853-1855 $83.95 cloth 0-8142-0384-1
XX: The Consular Letters, 1856-1857 $83.95 cloth 0-8142-0462-7
XXI: The English Notebooks, 1853-1856 $98.95 cloth 0-8142-0670-0
XXII: The English Notebooks, 1856-1860 $98.95 cloth 0-8142-0671-9
XXIII: Miscellaneous Prose and Verse $98.95 cloth 0-8142-0644-1
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Cervantes and the Material World
Carroll B. Johnson
University of Illinois Press, 2000
In this innovative revisiting of Don Quixote and the Novelas ejemplares, Carroll B. Johnson investigates in detail the cultural and material environment in which Cervantes placed his characters.
Cervantes and the Material World reveals a recurrent preoccupation with the clash of two different economic systems: a reenergized feudalism and an incipient capitalism. Overturning the common assumption that Don Quixote, Sancho Panza, and myriad other colorful characters carry out their adventures in a timeless social milieu, Johnson demonstrates how their perspectives and experiences are shaped by the events and crises of their immediate historical context.
Johnson examines how questions of the distribution of wealth, the ownership of the means of production, and membership in one or another economic order permeate Cervantes's fiction. Thoughtfully contextualizing key excerpts, he suggests how business activities, legal codes, and other materialist practices actively impinge on the lives of the characters, influencing and in some cases determining their motivations and their possibilities for action.
A major study that will change the face of Cervantes scholarship, Cervantes and the Material World is also an important resource for students of the Spanish Golden Age and Renaissance and baroque literature and culture.
Cervantes and the Material World reveals a recurrent preoccupation with the clash of two different economic systems: a reenergized feudalism and an incipient capitalism. Overturning the common assumption that Don Quixote, Sancho Panza, and myriad other colorful characters carry out their adventures in a timeless social milieu, Johnson demonstrates how their perspectives and experiences are shaped by the events and crises of their immediate historical context.
Johnson examines how questions of the distribution of wealth, the ownership of the means of production, and membership in one or another economic order permeate Cervantes's fiction. Thoughtfully contextualizing key excerpts, he suggests how business activities, legal codes, and other materialist practices actively impinge on the lives of the characters, influencing and in some cases determining their motivations and their possibilities for action.
A major study that will change the face of Cervantes scholarship, Cervantes and the Material World is also an important resource for students of the Spanish Golden Age and Renaissance and baroque literature and culture.
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Cezanne
A Study of His Development
Roger Fry
University of Chicago Press, 1989
Roger Fry's classic study of the art and life of Paul Cézanne, originally published in 1927, has been acclaimed as a paradigm critical work for its clarity, perception, and originality. Himself an artist, Fry rejected prevailing modes of criticism, believing that form, not subject matter, should be the primary expressive element. Cézanne's work came closest to Fry's ideal—it gave formal expression to all of nature.
This study established Fry as a critical "father," the first of his line to explicate the ideas of "vision and design" in an attempt to understand modern art. His critical analysis has in many respects never been surpassed. Fry endeavored both to show the essential development of the painter's style and to approach individual works directly; he wrote that he would detect "the profound difference between Cézanne's message and what we have made of it." The result is a book, couched in Fry's most lucid, penetrating language, which is of great technical value to the painter and student and which offers the layman an illuminating demonstration of the remarkable force of Cézanne's art.
This study established Fry as a critical "father," the first of his line to explicate the ideas of "vision and design" in an attempt to understand modern art. His critical analysis has in many respects never been surpassed. Fry endeavored both to show the essential development of the painter's style and to approach individual works directly; he wrote that he would detect "the profound difference between Cézanne's message and what we have made of it." The result is a book, couched in Fry's most lucid, penetrating language, which is of great technical value to the painter and student and which offers the layman an illuminating demonstration of the remarkable force of Cézanne's art.
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Cezanne and the End of Impressionism
A Study of the Theory, Technique, and Critical Evaluation of Modern Art
Richard Shiff
University of Chicago Press, 1984
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
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A Cezanne in the Hedge and Other Memories of Charleston and Bloomsbury
Edited by Hugh Lee
University of Chicago Press, 1992
The Bloomsbury circle has long preoccupied writers, critics, and the general public alike. For many years its focal point was Charleston Farmhouse in Sussex, home to Vanessa and Clive Bell and Duncan Grant. A Cézanne in the Hedge brings together thirty firsthand reminiscences of the Charleston, vividly and amusingly evoking its creativity—and eccentricity. Childhood memories from Quentin Bell, Angelica Garnett, and Nigel Nicholson are interspersed with appraisals of the work of Bloomsbury members such as Roger Fry, Maynard Keynes, and Virginia Woolf and of their contribution to twentieth-century British art and thought. The finale is a childhood spoof written by Virginia Woolf entitled "A Terrible Tragedy in a Duckpond."
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Challenging Communion
The Eucharist and Middle English Literature
Jennifer Garrison
The Ohio State University Press, 2017
In this book, Jennifer Garrison examines literary representations of the central symbol of later medieval religious culture: the Eucharist. In contrast to scholarship that depicts mainstream believers as enthusiastically and simplistically embracing the Eucharist, Challenging Communion: The Eucharist and Middle English Literature identifies a pervasive Middle English literary tradition that rejects simplistic notions of eucharistic promise.
Through new readings of texts such as Piers Plowman, A Revelation of Love, The Book of Margery Kempe, and John Lydgate’s religious poetry, Garrison shows how writers of Middle English often take advantage of the ways in which eucharistic theology itself contests the boundaries between the material and the spiritual, and how these writers challenge the eucharistic ideal of union between Christ and the community of believers. By troubling the definitions of literal and figurative, Middle English writers respond to and reformulate eucharistic theology in politically challenging and poetically complex ways. Garrison argues that Middle English texts often reject simple eucharistic promises in order to offer what they regard as a better version of the Eucharist, one that is intellectually and spiritually demanding and that invites readers to transform themselves and their communities.
Through new readings of texts such as Piers Plowman, A Revelation of Love, The Book of Margery Kempe, and John Lydgate’s religious poetry, Garrison shows how writers of Middle English often take advantage of the ways in which eucharistic theology itself contests the boundaries between the material and the spiritual, and how these writers challenge the eucharistic ideal of union between Christ and the community of believers. By troubling the definitions of literal and figurative, Middle English writers respond to and reformulate eucharistic theology in politically challenging and poetically complex ways. Garrison argues that Middle English texts often reject simple eucharistic promises in order to offer what they regard as a better version of the Eucharist, one that is intellectually and spiritually demanding and that invites readers to transform themselves and their communities.
[more]
Charity and Condescension
Victorian Literature and the Dilemmas of Philanthropy
Daniel Siegel
Ohio University Press, 2012
Charity and Condescension explores how condescension, a traditional English virtue, went sour in the nineteenth century, and considers the ways in which the failure of condescension influenced Victorian efforts to reform philanthropy and to construct new narrative models of social conciliation. In the literary work of authors like Dickens, Eliot, and Tennyson, and in the writing of reformers like Octavia Hill and Samuel Barnett, condescension—once a sign of the power and value of charity—became an emblem of charity’s limitations.
Charity and Condescension argues that, despite its reputation for idealistic self-assurance, Victorian charity frequently doubted its own operations and was driven by creative self-critique. Through sophisticated and original close readings of important Victorian texts, Siegel shows how these important ideas developed even as England struggled to deal with its growing underclass and an expanding notion of the state’s responsibility to its poor.
Charity and Condescension argues that, despite its reputation for idealistic self-assurance, Victorian charity frequently doubted its own operations and was driven by creative self-critique. Through sophisticated and original close readings of important Victorian texts, Siegel shows how these important ideas developed even as England struggled to deal with its growing underclass and an expanding notion of the state’s responsibility to its poor.
[more]
Charlestown Blues
Selected Poems, a Bilingual Edition
Guy Goffette
University of Chicago Press, 2007
Letter to the unknown woman across the street, I
Curtains, blinds, draperies, shades, no, nothing
Madame, to conceal from your Cyclops’ eye
in the shadows from which it spies on me
this long pale body, false corpse tired out
with debauchery, which is swooning too
before your balcony, with your drying
stockings and scanties of a nun at bay—
poisonous flowers for a lonely man
whom death panics, draws erect, demarrows
in the night, riveted to your white thighs.
Readers who denounce most contemporary French poetry as self-referential experimentation, word games, exercises in deconstruction, or other kinds of incomprehensible writing disconnected from everyday life—brace yourselves for a revelation. Erotic and urbane, distinguished by formal skill yet marked by the subtlest shades of feeling, Guy Goffette’s unabashedly lyrical poems pay homage to both Verlaine and Rimbaud, whom he counts as his important forbears, with echoes of Auden and Pound, Pavese and Borges.
In Charlestown Blues, poet and translator Marilyn Hacker has chosen a tightly thematic selection of poems, all centering around the notion of “blue”—the color and the emotion, as well as that quintessentially American style of musical performance. Hacker’s crystalline and musical English renderings will show Anglophones why Goffette is considered one of the most important poets writing in French today.
Curtains, blinds, draperies, shades, no, nothing
Madame, to conceal from your Cyclops’ eye
in the shadows from which it spies on me
this long pale body, false corpse tired out
with debauchery, which is swooning too
before your balcony, with your drying
stockings and scanties of a nun at bay—
poisonous flowers for a lonely man
whom death panics, draws erect, demarrows
in the night, riveted to your white thighs.
Readers who denounce most contemporary French poetry as self-referential experimentation, word games, exercises in deconstruction, or other kinds of incomprehensible writing disconnected from everyday life—brace yourselves for a revelation. Erotic and urbane, distinguished by formal skill yet marked by the subtlest shades of feeling, Guy Goffette’s unabashedly lyrical poems pay homage to both Verlaine and Rimbaud, whom he counts as his important forbears, with echoes of Auden and Pound, Pavese and Borges.
In Charlestown Blues, poet and translator Marilyn Hacker has chosen a tightly thematic selection of poems, all centering around the notion of “blue”—the color and the emotion, as well as that quintessentially American style of musical performance. Hacker’s crystalline and musical English renderings will show Anglophones why Goffette is considered one of the most important poets writing in French today.
[more]
Charon's Ferry
Fifty Poems
Gyula Illyes
Northwestern University Press, 2000
At the heart of this collection are meditations on cultural values, Hungarian history, and the legacy of suppression and survival. Included in this collection is one of the author's most outspoken poems, "One Sentence on Tyranny," a haunting and relentless testimony to the entire Eastern European experience--a backhanded homage to all the oppressions and fears of daily life.
[more]
The Chartist Imaginary
Literary Form in Working-Class Political Theory and Practice
Margaret A. Loose
The Ohio State University Press, 2014
Can imaginative literature change the political and social history of a class or nation? In The Chartist Imaginary: Literary Form in Working-Class Political Theory and Practice, Margaret Loose turns to the Chartist Movement—Britain’s first mass working-class movement, dating from the 1830s to the 1840s—and argues that, based on literature by members of the movement, the answer to that question is a resounding “yes.” Chartist writing awakened workers’ awareness of discord between professed ideals and reality; exercised their conceptual powers (literary and social); and sharpened their appetite for more knowledge, intellectual power, dignity, and agency in the present to fashion a utopian future. Igniting such self-respecting, politically transfigurative energy was a unique kind of agency Loose calls “the Chartist imaginary.” In examining the Chartist movement, Loose balances the nervous projections of canonical Victorian writers against a consideration of the ways that laborers represented Chartism’s aims and tactics.
The Chartist Imaginary offers close readings of poems and fiction by Chartist figures from Ernest Jones and Thomas Cooper to W. J. Linton, Thomas Martin Wheeler, and Gerald Massey. It also draws on extensive archival research to examine, for the first time, working-class female Chartist poets Mary Hutton, E. L. E., and Elizabeth La Mont. Focusing on the literary form of these works, Loose strongly argues for the political power of the aesthetic in working-class literature.
The Chartist Imaginary offers close readings of poems and fiction by Chartist figures from Ernest Jones and Thomas Cooper to W. J. Linton, Thomas Martin Wheeler, and Gerald Massey. It also draws on extensive archival research to examine, for the first time, working-class female Chartist poets Mary Hutton, E. L. E., and Elizabeth La Mont. Focusing on the literary form of these works, Loose strongly argues for the political power of the aesthetic in working-class literature.
[more]
Chaucer and the Subject of History
Lee Patterson
University of Wisconsin Press, 1991
Renowned scholar of medieval literature, Lee Patterson, presents a compelling vision of the shape and direction of Geoffrey Chaucer’s entire career in Chaucer and the Subject of History.
Chaucer's interest in individuality was strikingly modern. At the same time he was profoundly aware of the pressures on individuality exerted by the past and by society—by history. This tension between the subject and history is Patterson's topic. He begins by showing how Chaucer’s understanding of history as a subject for poetry—a world to be represented and a cultural force affecting human action—began to take shape in his poems on classical themes, especially in Troilus and Criseyde. Patterson's extended analysis of this profound yet deeply conflicted exploration of the relationship between "history" and "the subject" provides the basis for understanding Chaucer's shift to his contemporary world in the Canterbury Tales. There, in the shrewdest and most wide-ranging analysis of late medieval society we possess, Chaucer investigated not just the idea of history but the historical world intimately related to his own political and literary career.
Patterson's chapters on individual tales clarify and confirm his provocative arguments. He shows, for example, how the Knight's Tale represents the contemporary crisis of governance in terms of a crisis in chivalric identity itself; how the Miller’s Tale reflects the social pressures and rhetoric of peasant movements generally and the Rising of 1381 in particular; and how the tales of the Merchant and Shipman register the paradoxical placement of a bourgeois class lacking class identity. And Patterson's brilliant readings of the Wife of Bath’s Tale—"the triumph of the subject"—and the Pardoner’s Tale —"the subject of confession"—reveal how Chaucer reworked traditional materials to accomplish stunning innovations that make visible unmistakably social meanings. Chaucer and the Subject of History is a landmark book, one that will shape the way that Chaucer is read for years to come.
[more]
Chaucer, Gower, and the Affect of Invention
Steele Nowlin
The Ohio State University Press, 2016
In this book, Steele Nowlin examines the process of poetic invention as it is conceptualized and expressed in the poetry of Geoffrey Chaucer (1343–1400) and John Gower (ca. 1330–1408). Specifically, it examines how these two poets present invention as an affective force, a process characterized by emergence and potentiality, and one that has a corollary in affect—that is, a kind of force or sensation distinct from emotion, characterized as an “intensity” that precedes what is only later cognitively understood and expressed as feeling or emotion, and that is typically described in a critical vocabulary of movement, emergence, and becoming.
Chaucer, Gower, and the Affect of Invention thus formulates a definition of affect that differs from most work in the recent “turn to affect” in medieval studies, focusing not on the representation of emotion or desire, or efforts to engage medieval alterity, but on the movement and emergence that precede emotional experience. It likewise argues for a broader understanding of invention in late medieval literature beyond analyses of rhetorical poetics and authorial politics by recuperating the dynamism and sense of potential that characterize inventional activity. Finally, its close readings of Chaucer’s and Gower’s poetry provide new insights into how these poets represent invention in order to engage the pervasive social and cultural discourses their poetry addresses.
Chaucer, Gower, and the Affect of Invention thus formulates a definition of affect that differs from most work in the recent “turn to affect” in medieval studies, focusing not on the representation of emotion or desire, or efforts to engage medieval alterity, but on the movement and emergence that precede emotional experience. It likewise argues for a broader understanding of invention in late medieval literature beyond analyses of rhetorical poetics and authorial politics by recuperating the dynamism and sense of potential that characterize inventional activity. Finally, its close readings of Chaucer’s and Gower’s poetry provide new insights into how these poets represent invention in order to engage the pervasive social and cultural discourses their poetry addresses.
[more]
Chaucer's Italian Tradition
Warren Ginsberg
University of Michigan Press, 2002
In his latest book, Warren Ginsberg explores what he calls Chaucer's "Italian tradition," a discourse that emerges by viewing the social institutions and artistic modes that shaped Chaucer's reception of Dante, Boccaccio, and Petrarch. While offering a fresh look at one of England's great literary figures, this book addresses important questions about the dynamics of cross-cultural translation and the formation of tradition.
Because divergent political, municipal, and literary histories would have made the Italian cities--Genoa, Florence, and Milan--unfamiliar to an English poet from medieval London, Ginsberg argues that we must consider what Chaucer overlooked and mistook from his Italian models alongside the material he did appropriate. To make sense of premises in texts like Dante's Comedy that were peculiarly Italian, Chaucer would look to Boccaccio as a gloss; by reading these authors in conjunction with one another, Chaucer generates an "Italian tradition" that translates into the terms of his English experience works already mediated by a prior stage of transposition.
Ginsberg explores Chaucer's relationship to Italian poets not in terms of the interaction of individual talents with accredited authorities (Chaucer and Dante, Boccaccio and Petrarch, etc.). Rather, he focuses on the shifts in tension that occur when the civic engagements and disengagements of Florence's poets are brought into contact with Chaucer's growing metropolitanism and increasing reluctance to make London the locus of his poetic art.
Beyond its appeal to medievalists and those who study the Renaissance, Chaucer's Italian Tradition will be welcomed by readers interested in theoretical questions about translation and the development of tradition, including individuals who study history, literature, and the nature of the humanities.
Warren Ginsberg is Professor of English, University of Oregon.
[more]
Chaucer’s Queer Nation
Glenn Burger
University of Minnesota Press, 2003
Looks at the ways social change is expressed through debates over identities and bodies.
In bodies and selves, we can see politics, economics, and culture play out, and the tensions and crises of society made visible. The women's movement, lobbies for the elderly, pro-choice and pro-life movements, AIDS research and education, pedophilia and repressed memory, global sports spectacles, organ donor networks, campaigns for safe sex, chastity, or preventive medicine--all are aspects of the contemporary politics of bodies and identities touched on in this book. Three broad themes run through the collection: how the body is constructed in various ways for different purposes, how the electronic media and its uses shape selves and sensualities and contribute to civic discourse, and how global capitalism acts as a direct force in these processes. By taking a distinctly cross-cultural and comparative approach, this volume explores more fully than ever the political, economic, institutional, and cultural settings of corporeality, identity, and representation.
Contributors: Antonella Fabri, Eva Illouz, Philip W. Jenks, Lauren Langman, Timothy W. Luke, Timothy McGettigan, Margaret J. Tally.
[more]
Chekhov for the Stage
The Sea Gull, Uncle Vanya, The Three Sisters, The Cherry Orchard
Anton Chekhov
Northwestern University Press, 1992
While the influence of Chekhov in modern theater worldwide, and especially in America, has been immense, translations into English have tended to be too literary and have not communicated the full emotional power and precise attention to detail of Chekhov's Russian. Milton Ehre began translating Chekhov's plays to provide professional theaters with performance texts that capture the feel and rhythms of spoken, rather than written, language. Chekhov for the Stage is the first publication of his revised versions of The Three Sisters, Uncle Vanya, The Cherry Orchard, and The Sea Gull. Ehre's sensitive renderings of these classics make this volume the translation of choice for performers and directors, teachers, and the general reading public.
[more]
Chemical Crimes
Science and Poison in Victorian Crime Fiction
Cheryl B. Price
The Ohio State University Press, 2019
In Chemical Crimes: Science and Poison in Victorian Crime Fiction, Cheryl Blake Price delves into the dark world of Victorian criminality to examine how poison allowed authors to disrupt gender boundaries, genre, and the professionalization of science. Tracing the role of the chemical crime through the works of Letitia Elizabeth Landon, Ellen Wood, Edward Bulwer Lytton, L. T. Meade, Charles Warren Adams, and Wilkie Collins, Price argues that poison this intervention not only provided a useful tool for authors to challenge the growing power of science but also that its fluid nature and ability to mix, mingle, and transcend boundaries made it ideal for generic experimentation.
From the Newgate and Silver Fork novels of the 1830s to the emergent genres of science and detective fiction of the 1890s, Price advocates for the classification of a new type of poisoner, one who combined crime with methodical scientific know-how: the chemical criminal. Chemical Crimes shows how authors used the subversiveness of chemical crimes to challenge the supposed disciplinary force of forensic detection and suggests that generic developments were inspired as much by criminal scientific innovation as they were by the rise of the detective–scientist. By focusing on chemical crime’s appearance at significant moments, this book traces how reactions to Victorian science inspired change in nineteenth-century crime fiction.
From the Newgate and Silver Fork novels of the 1830s to the emergent genres of science and detective fiction of the 1890s, Price advocates for the classification of a new type of poisoner, one who combined crime with methodical scientific know-how: the chemical criminal. Chemical Crimes shows how authors used the subversiveness of chemical crimes to challenge the supposed disciplinary force of forensic detection and suggests that generic developments were inspired as much by criminal scientific innovation as they were by the rise of the detective–scientist. By focusing on chemical crime’s appearance at significant moments, this book traces how reactions to Victorian science inspired change in nineteenth-century crime fiction.
[more]
Childhood
Nathalie Sarraute
University of Chicago Press, 2013
As one of the leading proponents of the nouveau roman, Nathalie Sarraute is often remembered for her novels, including The Golden Fruits, which earned her the Prix international de litterature in 1964. But her carefully crafted and evocative memoir Childhood may in fact be Sarraute’s most accessible and emotionally open work. Written when the author was eighty-three years old, but dealing with only the first twelve years of her life, Childhood is constructed as a dialogue between Sarraute and her memory. Sarraute gently interrogates her interlocutor in search of her own intentions, more precise accuracy, and indeed, the truth. Her relationships with her mother in Russia and her stepmother in Paris are especially heartbreaking: long-gone actions are prodded and poked at by Sarraute until they yield some semblance of fact, imbuing these maternalistic interactions with new, deeper meaning. Each vignette is bristling with detail and shows the power of memory through prose by turns funny, sad, and poetic. Capturing the ambience of Paris and Russia in the earliest part of the twentieth century, while never giving up the lyrical style of Sarraute’s novels, this book has much to offer both memoir enthusiasts and fiction lovers.
[more]
Children’s Literature in Hitler’s Germany
The Cultural Policy of National Socialism
Christa Kamenetsky
Ohio University Press, 1984
Between 1933 and 1945, National Socialists enacted a focused effort to propagandize children’s literature by distorting existing German values and traditions with the aim of creating a homogenous “folk community.” A vast censorship committee in Berlin oversaw the publication, revision, and distribution of books and textbooks for young readers, exercising its control over library and bookstore content as well as over new manuscripts, so as to redirect the cultural consumption of the nation’s children. In particular, the Nazis emphasized Nordic myths and legends with a focus on the fighting spirit of the saga heroes, their community loyalty, and a fierce spirit of revenge—elements that were then applied to the concepts of loyalty to and sacrifice for the Führer and the fatherland. They also tolerated select popular series, even though these were meant to be replaced by modern Hitler Youth camping stories.
In this important book, first published in 1984 and now back in print, Christa Kamenetsky demonstrates how Nazis used children’s literature to selectively shape a “Nordic Germanic” worldview that was intended to strengthen the German folk community, the Führer, and the fatherland by imposing a racial perspective on mankind. Their efforts corroded the last remnants of the Weimar Republic’s liberal education, while promoting an enthusiastic following for Hitler.
[more]
Christina Rossetti and Illustration
A Publishing History
Lorraine Janzen Kooistra
Ohio University Press, 2002
Readers do not always take into account how books that combine image and text make their meanings. But for the Pre-Raphaelite poet Christina Rossetti, such considerations were central.
Christina Rossetti and Illustration maps the production and reception of Rossetti's illustrated poetry, devotional prose, and work for children, both in the author's lifetime and in posthumous twentieth-century reprints.
Lorraine Janzen Kooistra’s reading of Rossetti's illustrated works reveals for the first time the visual-verbal aesthetic that was fundamental to Rossetti's poetics. Her exhaustive archival research brings to light new information on how Rossetti's commitment to illustration and attitudes to copyright and control influenced her transactions with publishers and the books they produced. Janzen Kooistra also tracks the poet’s reception in the twentieth century through a complex web of illustrated books produced for a wide range of audiences.
Analyzing an impressive array of empirical data, Janzen Kooistra shows how Rossetti's packaging for commodity consumption -- by religious presses, publishers of academic editions and children’s picture books, and makers of erotica and collectibles -- influenced the reception of her work and her place in literary history.
Christina Rossetti and Illustration maps the production and reception of Rossetti's illustrated poetry, devotional prose, and work for children, both in the author's lifetime and in posthumous twentieth-century reprints.
Lorraine Janzen Kooistra’s reading of Rossetti's illustrated works reveals for the first time the visual-verbal aesthetic that was fundamental to Rossetti's poetics. Her exhaustive archival research brings to light new information on how Rossetti's commitment to illustration and attitudes to copyright and control influenced her transactions with publishers and the books they produced. Janzen Kooistra also tracks the poet’s reception in the twentieth century through a complex web of illustrated books produced for a wide range of audiences.
Analyzing an impressive array of empirical data, Janzen Kooistra shows how Rossetti's packaging for commodity consumption -- by religious presses, publishers of academic editions and children’s picture books, and makers of erotica and collectibles -- influenced the reception of her work and her place in literary history.
[more]
Cien años de identidad
Introducción a la literatura latinoamericana del siglo XX
City of Ash
Eugenijus Alisanka
Northwestern University Press, 2000
Although the title of this sensitive collection refers to Vilnius, the capital of Lithuania, City of Ash serves as a universal geography of the contemporary soul in an urban context. Through his poetry, Eugenijus Alisanka searches for personal and historical meaning within the framework of time, recognizing both the demands of the self and the impossibility of avoiding what came before, whether human or cultural.
[more]
Claiming a Tradition
Italian American Women Writers
Mary Jo Bona
Southern Illinois University Press, 1999
Mary Jo Bona reconstructs the literary history and examines the narrative techniques of eight Italian American women's novels from 1940 to the present. Largely neglected until recently, these women's family narratives compel a reconsideration of what it means to be a woman and an ethnic in America.
Bona discusses the novels in pairs according to their focus on Italian American life. She first examines the traditions of italianitá (a flavor of things Italian) that inform and enhance works of fiction. The novelists in that tradition were Mari Tomasi (Like Lesser Gods, 1949) and Marion Benasutti (No Steady Job for Papa, 1966).
Bona then turns to later novels that highlight the Italian American belief in the family's honor and reputation. Conflicts between generations, specifically between autocratic fathers and their children, are central to Octavia Waldo's 1961 A Cup of the Sun and Josephine Gattuso Hendin's 1988 The Right Thing to Do.
Even when writers choose to steer away from the familial focus, Bona notes, their developmental narratives trace the reintegration of characters suffering from a crisis of cultural identity. Relating the characters' struggles to their relationship to the family, Bona examines Diana Cavallo's 1961 A Bridge of Leaves and Dorothy Bryant's 1978 Miss Giardino.
Bona then discusses two innovative novels— Helen Barolini's 1979 Umbertina and Tina De Rosa's 1980 Paper Fish— both of which feature a granddaughter who invokes her grandmother, a godparent figure. Through Barolini's feminist and De Rosa's modernist perspectives, both novels present a young girl developing artistically.
Closing with a discussion of the contemporary terrain Italian American women traverse, Bona examines such topics as sexual identity when it meets cultural identity and the inclusion of italianitá when Italian American identity is not central to the story. Italian American women writers, she concludes, continue in the 1980s and 1990s to focus on the interplay between cultural identity and women's development.
Bona discusses the novels in pairs according to their focus on Italian American life. She first examines the traditions of italianitá (a flavor of things Italian) that inform and enhance works of fiction. The novelists in that tradition were Mari Tomasi (Like Lesser Gods, 1949) and Marion Benasutti (No Steady Job for Papa, 1966).
Bona then turns to later novels that highlight the Italian American belief in the family's honor and reputation. Conflicts between generations, specifically between autocratic fathers and their children, are central to Octavia Waldo's 1961 A Cup of the Sun and Josephine Gattuso Hendin's 1988 The Right Thing to Do.
Even when writers choose to steer away from the familial focus, Bona notes, their developmental narratives trace the reintegration of characters suffering from a crisis of cultural identity. Relating the characters' struggles to their relationship to the family, Bona examines Diana Cavallo's 1961 A Bridge of Leaves and Dorothy Bryant's 1978 Miss Giardino.
Bona then discusses two innovative novels— Helen Barolini's 1979 Umbertina and Tina De Rosa's 1980 Paper Fish— both of which feature a granddaughter who invokes her grandmother, a godparent figure. Through Barolini's feminist and De Rosa's modernist perspectives, both novels present a young girl developing artistically.
Closing with a discussion of the contemporary terrain Italian American women traverse, Bona examines such topics as sexual identity when it meets cultural identity and the inclusion of italianitá when Italian American identity is not central to the story. Italian American women writers, she concludes, continue in the 1980s and 1990s to focus on the interplay between cultural identity and women's development.
[more]
Class
Andrea Cavalletti
Seagull Books
In 1936, Walter Benjamin defined the revolutionary class as being in opposition to a dense and dangerous crowd, prone to fear of the foreign, and under the spell of anti-Semitic madness. Today, in formations great or small, that sad figure returns—the hatred of minorities is rekindled and the pied-pipers of the crowd stand triumphant.
Class, by Andrea Cavalletti, is a striking montage of diverse materials—Marx and Jules Verne, Benjamin and Gabriel Tarde. In it, Cavalletti asks whether the untimely concept of class is once again thinkable. Faced with new pogroms and state racism, he challenges us to imagine a movement that would unsettle and eventually destroy the crowd.
Class, by Andrea Cavalletti, is a striking montage of diverse materials—Marx and Jules Verne, Benjamin and Gabriel Tarde. In it, Cavalletti asks whether the untimely concept of class is once again thinkable. Faced with new pogroms and state racism, he challenges us to imagine a movement that would unsettle and eventually destroy the crowd.
[more]
Class Fictions
Shame and Resistance in the British Working Class Novel, 1890–1945
Pamela Fox
Duke University Press, 1994
Many recent discussions of working-class culture in literary and cultural studies have tended to present an oversimplified view of resistance. In this groundbreaking work, Pamela Fox offers a far more complex theory of working-class identity, particularly as reflected in British novels of the late nineteenth and early twentieth centuries. Through the concept of class shame, she produces a model of working-class subjectivity that understands resistance in a more accurate and useful way—as a complicated kind of refusal, directed at both dominated and dominant culture.
With a focus on certain classics in the working-class literary "canon," such as The Ragged Trousered Philanthropists and Love on the Dole, as well as lesser-known texts by working-class women, Fox uncovers the anxieties that underlie representations of class and consciousness. Shame repeatedly emerges as a powerful counterforce in these works, continually unsettling the surface narrative of protest to reveal an ambivalent relation toward the working-class identities the novels apparently champion.
Class Fictions offers an equally rigorous analysis of cultural studies itself, which has historically sought to defend and value the radical difference of working-class culture. Fox also brings to her analysis a strong feminist perspective that devotes considerable attention to the often overlooked role of gender in working-class fiction. She demonstrates that working-class novels not only expose master narratives of middle-class culture that must be resisted, but that they also reveal to us a need to create counter narratives or formulas of working-class life. In doing so, this book provides a more subtle sense of the role of resistance in working class culture. While of interest to scholars of Victorian and working-class fiction, Pamela Fox’s argument has far-reaching implications for the way literary and cultural studies will be defined and practiced.
With a focus on certain classics in the working-class literary "canon," such as The Ragged Trousered Philanthropists and Love on the Dole, as well as lesser-known texts by working-class women, Fox uncovers the anxieties that underlie representations of class and consciousness. Shame repeatedly emerges as a powerful counterforce in these works, continually unsettling the surface narrative of protest to reveal an ambivalent relation toward the working-class identities the novels apparently champion.
Class Fictions offers an equally rigorous analysis of cultural studies itself, which has historically sought to defend and value the radical difference of working-class culture. Fox also brings to her analysis a strong feminist perspective that devotes considerable attention to the often overlooked role of gender in working-class fiction. She demonstrates that working-class novels not only expose master narratives of middle-class culture that must be resisted, but that they also reveal to us a need to create counter narratives or formulas of working-class life. In doing so, this book provides a more subtle sense of the role of resistance in working class culture. While of interest to scholars of Victorian and working-class fiction, Pamela Fox’s argument has far-reaching implications for the way literary and cultural studies will be defined and practiced.
[more]
Cleansing the City
Sanitary Geographies in Victorian London
Michelle Allen
Ohio University Press, 2008
Cleansing the City: Sanitary Geographies in Victorian Londonexplores not only the challenges faced by reformers as they strove toclean up an increasingly filthy city but the resistance to their efforts.Beginning in the 1830s, reform-minded citizens, under the banner of sanitaryimprovement, plunged into London’s dark and dirty spaces and returned withthe material they needed to promote public health legislation and magnificentprojects of sanitary engineering. Sanitary reform, however, was not alwaysmet with unqualified enthusiasm. While some improvements, such as slumclearances, the development of sewerage, and the embankment of the Thames,may have made London a cleaner place to live, these projects also destroyedand reshaped the built environment, and in doing so, altered the meanings andexperiences of the city.
From the novels of Charles Dickens and George Gissing to anonymous magazinearticles and pamphlets, resistance to reform found expression in the nostalgicappreciation of a threatened urban landscape and anxiety about domestic autonomyin an era of networked sanitary services. Cleansing the City emphasizes the disruptions and disorientation occasioned by purification—a process we are generally inclined to see as positive. By recovering these sometimes oppositional, sometimes ambivalent responses, Michelle Allen elevates a significant undercurrent of Victorian thought into the mainstream and thus provides insight into the contested nature of sanitary modernization.
[more]
Cleopatra and Rome
Diana E. E. Kleiner
Harvard University Press, 2005
In this beautifully illustrated book, we experience the synthesis of Cleopatra's and Rome's defining moments through surviving works of art and other remnants of what was once an opulent material culture. This culture best chronicles Cleopatra's legend and suggests her subtle but indelible mark on the art of imperial Rome at the critical moment of its inception.
[more]
Cleopatra in Italian and English Renaissance Drama
Anna Maria Montanari
Amsterdam University Press
This book considers some of the main adaptations of the character of Cleopatra for the Renaissance stage, travelling from Italy to England to arrive finally to Shakespeare. It shows how each reading of the story of Cleopatra is unique to and expressive of the culture which produced it, even as writers drew from the same sources from Antiquity. For the first time texts belonging to different cultures, rigorously presented, are brought into dialogue on such questions as moral standpoint, gender and the representation of the exotic. Moreover, through the fascinating figure of Cleopatra, the reader is able to explore the development of Renaissance tragedy, in its commercial and non-commercial versions. Ultimately both questions at the heart of this study - concerning Cleopatra's identity and her translation into theatre - converge to be (dis)solved by Shakespeare.
[more]
Close Reading
The Reader
Frank Lentricchia and Andrew DuBois, eds.
Duke University Press, 2003
An anthology of exemplary readings by some of the twentieth century’s foremost literary critics, Close Reading presents a wide range of responses to the question at the heart of literary criticism: how best to read a text to understand its meaning. The lively introduction and the selected essays provide an overview of close reading from New Criticism through poststructuralism, including works of feminist criticism, postcolonial theory, queer theory, new historicism, and more.
From a 1938 essay by John Crowe Ransom through the work of contemporary scholars, Close Reading highlights the interplay between critics—the ways they respond to and are influenced by others’ works. To facilitate comparisons of methodology, the collection includes discussions of the same primary texts by scholars using different critical approaches. The essays focus on Hamlet, “Lycidas,” “The Rape of the Lock,” Ulysses, Invisible Man, Beloved, Jane Austen, John Keats, and Wallace Stevens and reveal not only what the contributors are reading, but also how they are reading.
Frank Lentricchia and Andrew DuBois’s collection is an essential tool for teaching the history and practice of close reading.
Contributors. Houston A. Baker Jr., Roland Barthes, Homi Bhabha, R. P. Blackmur, Cleanth Brooks, Kenneth Burke, Paul de Man, Andrew DuBois, Stanley Fish, Catherine Gallagher, Sandra Gilbert, Stephen Greenblatt, Susan Gubar, Fredric Jameson, Murray Krieger, Frank Lentricchia, Franco Moretti, John Crowe Ransom, Eve Kosofsky Sedgwick, Helen Vendler
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Coalition Politics and Cabinet Decision Making
A Comparative Analysis of Foreign Policy Choices
Juliet Kaarbo
University of Michigan Press, 2012
Every day, coalition cabinets make policy decisions critical to international politics. Juliet Kaarbo examines the dynamics of these multiparty cabinets in parliamentary democracies in order to assess both the quality of coalition decision making and the degree to which coalitions tend to favor peaceful or military solutions. Are coalition cabinets so riddled by conflict that they cannot make foreign policy effectively, or do the multiple voices represented in the cabinet create more legitimate and imaginative responses to the international system? Do political and institutional constraints inherent to coalition cabinets lead to nonaggressive policies? Or do institutional and political forces precipitate more belligerent behavior?
Employing theory from security studies and political psychology as well as a combination of quantitative cross-national analyses and twelve qualitative comparative case studies of foreign policy made by coalition cabinets in Japan, the Netherlands, and Turkey, Kaarbo identifies the factors that generate highly aggressive policies, inconsistency, and other policy outcomes. Her findings have implications not merely for foreign policy but for all types of decision making and policy-making by coalition governments.
Employing theory from security studies and political psychology as well as a combination of quantitative cross-national analyses and twelve qualitative comparative case studies of foreign policy made by coalition cabinets in Japan, the Netherlands, and Turkey, Kaarbo identifies the factors that generate highly aggressive policies, inconsistency, and other policy outcomes. Her findings have implications not merely for foreign policy but for all types of decision making and policy-making by coalition governments.
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Collaborative Dickens
Authorship and Victorian Christmas Periodicals
Melisa Klimaszewski
Ohio University Press, 2019
From 1850 to 1867, Charles Dickens produced special issues (called “numbers”) of his journals Household Words and All the Year Round, which were released shortly before Christmas each year. In Collaborative Dickens, Melisa Klimaszewski undertakes the first comprehensive study of these Christmas numbers. She argues for a revised understanding of Dickens as an editor who, rather than ceaselessly bullying his contributors, sometimes accommodated contrary views and depended upon multivocal narratives for his own success.
Klimaszewski uncovers connections among and between the stories in each Christmas collection. She thus reveals ongoing conversations between the works of Dickens and his collaborators on topics important to the Victorians, including race, empire, supernatural hauntings, marriage, disability, and criminality. Stories from Wilkie Collins, Elizabeth Gaskell, and understudied women writers such as Amelia B. Edwards and Adelaide Anne Procter interact provocatively with Dickens’s writing. By restoring links between stories from as many as nine different writers in a given year, Klimaszewski demonstrates that a respect for the Christmas numbers’ plural authorship and intertextuality results in a new view of the complexities of collaboration in the Victorian periodical press and a new appreciation for some of the most popular texts Dickens published.
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Collaborative Meaning in Medieval Scribal Culture
The Otho La3amon
Elizabeth J. Bryan
University of Michigan Press, 1999
Before the technology of print, every book was unique. Two manuscripts of the "same" text could package and transmit that text very differently, depending on the choices made by scribes, compilers, translators, annotators, and decorators. Is it appropriate, Elizabeth Bryan asks, for us to read these books as products of a single author's consciousness? And if not, how do we read them?
In Collaborative Meaning in Medieval Scribal Culture, Bryan compares examples from the British Library Cotton Otho C.xiii manuscript of La3amon's Brut, the early thirteenth-century verse history that translated King Arthur into English for the first time. She discovers cultural attitudes that valued communal aspects of manuscript texts--for example, a view of the physical book as connecting all who read or even held it to each other.
The study is divided into two parts. Part one presents Early Middle English concepts of "enjoining" texts and explores the theoretical and methodological challenges they pose to present-day readers of scribally-produced texts. Part two conducts a detailed study of the multiple interpretations built into the manuscript text. Illustrations of manuscript pages accompany analysis, and the reader is invited to engage in interpreting the manuscript text.
Collaborative Meaning in Medieval Scribal Culture will be of interest to students and specialists in medieval chronicle histories, Middle English, Arthurian literature, and literary and textual theory.
Elizabeth J. Bryan is Associate Professor of English, Brown University.
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Collected Poems
Thomas Bernhard
Seagull Books, 2017
Beloved Austrian writer Thomas Bernhard (1931–89) began his career in the early 1950s as a poet. Over the next decade, Bernhard wrote thousands of poems and published four volumes of intensely wrought and increasingly personal verse, with such titles as On Earth and in Hell, In Hora Mortis, and Under the Iron of the Moon. Bernhard’s early poetry, bearing the influence of Georg Trakl, begins with a deep connection to his Austrian homeland. As his poems saw publication and recognition, Bernhard seemed always on the verge of joining the ranks of Ingeborg Bachmann, Paul Celan, and other young post-war poets writing in German. During this time, however, his poems became increasingly obsessive, filled with an undulant self-pity, counterpointed by a defamatory, bardic voice utterly estranged from his country, all of which resulted in a magisterial work of anti-poetry—one that represents Bernhard’s own harrowing experience, with the leitmotif of success–failure, that makes his fiction such a pleasure.
For all of these reasons, Bernhard’s Collected Poems, translated into English for the first time by James Reidel, is a key to understanding the irascible black comedy found in virtually all of Bernhard’s writings—even down to his last will and testament. There is much to be found in these pages for Bernhard fans of every stripe.
For all of these reasons, Bernhard’s Collected Poems, translated into English for the first time by James Reidel, is a key to understanding the irascible black comedy found in virtually all of Bernhard’s writings—even down to his last will and testament. There is much to be found in these pages for Bernhard fans of every stripe.
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Collected Poems
Donald Davie
University of Chicago Press, 1991
Donald Davie's poems are here arranged chronologically from the 1950s to the beginning of the 1990s. Taken together, the poems display that reverence for the distinctive qualities of the English language which has earned him a name as one of Britain's finest living poets.
"Davie's voice—judgemental, ironic, epigrammatic, humorous, self-lacerating—speaks always with reference to an unhuman perpendicular standard that itself goes unquestioned. It is not a standard of Beauty or Truth; Davie is a poet of the third member of the Platonic triad, Justice."—Helen Vendler, The New Yorker
"[Davie's poems] are on the quiet side, often casual and musing in mood and tone; determined to resist large gestures of assent or denial. . .Donald Davie may just be the best English poet-critic of our time."—William Pritchard, The New Republic
"Donald Davie's Collected Poems does more than mark the culmination of one of the most distinguished careers in post-war British poetry; it is the autobiographical journey of a living poet at the height of his creative powers and the mastery of his craft. Davie is considered the most important and valuable contemporary link between poetry in England and America."—Sarah E. McNeil, Little Rock Free Press
"Davie's voice—judgemental, ironic, epigrammatic, humorous, self-lacerating—speaks always with reference to an unhuman perpendicular standard that itself goes unquestioned. It is not a standard of Beauty or Truth; Davie is a poet of the third member of the Platonic triad, Justice."—Helen Vendler, The New Yorker
"[Davie's poems] are on the quiet side, often casual and musing in mood and tone; determined to resist large gestures of assent or denial. . .Donald Davie may just be the best English poet-critic of our time."—William Pritchard, The New Republic
"Donald Davie's Collected Poems does more than mark the culmination of one of the most distinguished careers in post-war British poetry; it is the autobiographical journey of a living poet at the height of his creative powers and the mastery of his craft. Davie is considered the most important and valuable contemporary link between poetry in England and America."—Sarah E. McNeil, Little Rock Free Press
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Collected Poems
With Notes Toward the Memoirs
Djuna Barnes; selected and edited by Phillip Herrring and Osias Stutman
University of Wisconsin Press, 2005
This groundbreaking edition compiles many of the late unpublished works of American writer Djuna Barnes (1892–1982). Because she published only seven poems and a play during the last forty years of her life, scholars believed Barnes wrote almost nothing during this period. But at the time of her death her apartment was filled with multiple drafts of unpublished poetry and notes toward her memoirs, both included here for the first time. Best known for her tragic lesbian novel Nightwood, Barnes has always been considered a crucial modernist. Her later poetry will only enhance this reputation as it shows her remarkable evolution from a competent young writer to a deeply intellectual poet in the metaphysical tradition. With the full force of her biting wit and dramatic flair, Barnes’s autobiographical notes describe the expatriate scene in Paris during the 1920s, including her interactions with James Joyce and Gertrude Stein and her intimate recollections of T. S. Eliot. These memoirs provide a rare opportunity to experience the intense personality of this complex and fascinating poet.
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Colonial al-Andalus
Spain and the Making of Modern Moroccan Culture
Eric Calderwood
Harvard University Press, 2018
Through state-backed Catholicism, monolingualism, militarism, and dictatorship, Spain’s fascists earned their reputation for intolerance. It may therefore come as a surprise that 80,000 Moroccans fought at General Franco’s side in the 1930s. What brought these strange bedfellows together, Eric Calderwood argues, was a highly effective propaganda weapon: the legacy of medieval Muslim Iberia, known as al-Andalus. This legacy served to justify Spain’s colonization of Morocco and also to define the Moroccan national culture that supplanted colonial rule.
Writers of many political stripes have celebrated convivencia, the fabled “coexistence” of Christians, Muslims, and Jews in medieval Iberia. According to this widely-held view, modern Spain and Morocco are joined through their shared Andalusi past. Colonial al-Andalus traces this supposedly timeless narrative to the mid-1800s, when Spanish politicians and intellectuals first used it to press for Morocco’s colonization. Franco later harnessed convivencia to the benefit of Spain’s colonial program in Morocco. This shift precipitated an eloquent historical irony. As Moroccans embraced the Spanish insistence on Morocco’s Andalusi heritage, a Spanish idea about Morocco gradually became a Moroccan idea about Morocco.
Drawing on a rich archive of Spanish, Arabic, French, and Catalan sources—including literature, historiography, journalism, political speeches, schoolbooks, tourist brochures, and visual arts—Calderwood reconstructs the varied political career of convivencia and al-Andalus, showing how shared pasts become raw material for divergent contemporary ideologies, including Spanish fascism and Moroccan nationalism. Colonial al-Andalus exposes the limits of simplistic oppositions between European and Arab, Christian and Muslim, that shape current debates about European colonialism.
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Colonial Fantasies
Conquest, Family, and Nation in Precolonial Germany, 1770-1870
Susanne Zantop
Duke University Press, 1997
Since Germany became a colonial power relatively late, postcolonial theorists and histories of colonialism have thus far paid little attention to it. Uncovering Germany’s colonial legacy and imagination, Susanne Zantop reveals the significance of colonial fantasies—a kind of colonialism without colonies—in the formation of German national identity. Through readings of historical, anthropological, literary, and popular texts, Zantop explores imaginary colonial encounters of "Germans" with "natives" in late-eighteenth- and early-nineteenth-century literature, and shows how these colonial fantasies acted as a rehearsal for actual colonial ventures in Africa, South America, and the Pacific.
From as early as the sixteenth century, Germans preoccupied themselves with an imaginary drive for colonial conquest and possession that eventually grew into a collective obsession. Zantop illustrates the gendered character of Germany’s colonial imagination through critical readings of popular novels, plays, and travel literature that imagine sexual conquest and surrender in colonial territory—or love and blissful domestic relations between colonizer and colonized. She looks at scientific articles, philosophical essays, and political pamphlets that helped create a racist colonial discourse and demonstrates that from its earliest manifestations, the German colonial imagination contained ideas about a specifically German national identity, different from, if not superior to, most others.
From as early as the sixteenth century, Germans preoccupied themselves with an imaginary drive for colonial conquest and possession that eventually grew into a collective obsession. Zantop illustrates the gendered character of Germany’s colonial imagination through critical readings of popular novels, plays, and travel literature that imagine sexual conquest and surrender in colonial territory—or love and blissful domestic relations between colonizer and colonized. She looks at scientific articles, philosophical essays, and political pamphlets that helped create a racist colonial discourse and demonstrates that from its earliest manifestations, the German colonial imagination contained ideas about a specifically German national identity, different from, if not superior to, most others.
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Colonization Violence & Narration
In White South African Writing
Rosemary Jane Jolly
Ohio University Press, 1995
The representation of pain and suffering in narrative form is an ongoing ethical issue in contemporary South African literature. Can violence be represented without sensationalistic effects, or, alternatively, without effects that tend to be conservative because they place the reader in a position of superiority over the victim or the perpetrator?
Jolly looks at three primary South African authors — André Brink, Breyten Breytenbach, and J. M. Coetzee — to consider violence in the context of apartheid and colonialism and their inherent patriarchies.
Jolly also discusses the violence attendant upon the act of narration in the broader context of critiques of Kafka, Freud, Hegel, the postcolonial critics Jan Mohamed and Bhabha, and feminists such as Susan Suleiman.
Jolly looks at three primary South African authors — André Brink, Breyten Breytenbach, and J. M. Coetzee — to consider violence in the context of apartheid and colonialism and their inherent patriarchies.
Jolly also discusses the violence attendant upon the act of narration in the broader context of critiques of Kafka, Freud, Hegel, the postcolonial critics Jan Mohamed and Bhabha, and feminists such as Susan Suleiman.
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Come Buy, Come Buy
Shopping and the Culture of Consumption in Victorian Women’s Writing
Krista Lysack
Ohio University Press, 2008
From the 1860s through the early twentieth century, Great Britain saw the rise of the department store and the institutionalization of a gendered sphere of consumption. Come Buy, Come Buy considers representations of the female shopper in British women’s writing and demonstrates how women’s shopping practices are materialized as forms of narrative, poetic, and cultural inscription, showing how women writers emphasize consumerism as productive of pleasure rather than the condition of seduction or loss. Krista Lysack examines works by Christina Rossetti, Mary Elizabeth Braddon, George Eliot, and Michael Field, as well as the suffragette newspaper Votes for Women, in order to challenge the dominant construction of Victorian femininity as characterized by self-renunciation and the regulation of appetite.
Come Buy, Come Buy considers not only literary works, but also a variety of archival sources (shopping guides, women’s fashion magazines, household management guides, newspapers, and advertisements) and cultural practices (department store shopping, shoplifting and kleptomania, domestic economy, and suffragette shopkeeping). With this wealth of sources, Lysack traces a genealogy of the woman shopper from dissident domestic spender to aesthetic connoisseur, from curious shop-gazer to political radical.
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A Comedy Called Susenbrotus
Connie McQuillen
University of Michigan Press, 1997
The comedy Susenbrotus is a neo-Latin play, written by the students of Trinity College Cambridge and performed before King James I at Royston in March 1615/16. It has never before been edited or translated. This edition contains the Latin text (prepared from a collation of the two extant manuscript copies), an English translation with annotations to classical and contemporary allusions, and an introduction tracing the development of humanist Latin drama in the universities during the Elizabethan and Jacobean periods.
Susenbrotus is in many ways representative of later university comedy. It is a rowdy, bawdy farce with roots in the Roman comedies of Plautus and Terence. The wit and much of the humor in these plays is in the reworking of traditional themes with characters and situations adapted to contemporary types and topical satire. Almost every playwright for the professional stage (with the notable exception of Shakespeare) either wrote or acted in university plays. Moreover, they were popular forms of entertainment and were attended not only by members of the academic community but also by visiting dignitaries, courtiers, foreign ambassadors, and on occasion, the English monarchs.
Susenbrotus is special among later university plays because it was specifically written for King James I. It was meant to flatter the king, who prided himself on his humanist education, with a display of wit and erudition. It was also meant to entertain: the play itself is quite funny. It involves the antics of several contemporary types (the pedant, a poet, a Spanish dandy, and a braggart soldier) vying for the affection of a cross-dressed boy. Much of the wit in Susenbrotus is verbal: scholarly puns, sexual metaphors, classical allusions, and quotations that are explained in annotations. The sustained transvestitism of the character Fortunia distinguishes it from its classical sources as well as from other plays of its type. Unlike Latin texts that were submitted to publishing houses and therefore corrected or stylized by printers, Susenbrotus is an example of Latin as it was written in the seventeenth century.
Connie McQuillen is Associate Professor of Humanities, Southwest State University, Minnesota.
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Comic Faith
The Great Tradition from Austen to Joyce
Robert M. Polhemus
University of Chicago Press, 1980
"Polhemus sketches several distinctions between nineteenth- and twentieth-century novelists and concludes that what most characterizes the nineteenth century, from the perspective of the twentieth, is the tendency in its comic fiction to criticize and to undermine the dogma and institutions of religion and to put faith instead of the existence of the comic perspective. Comic Faith is a virtuoso performance of impressive stature; I suspect the book will be influential for many years to come."—John Halperin, Modern Fiction Studies
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The Comic Mask in the Commedia dell'Arte
Actor Training, Improvisation, and the Poetics of Survival
Antonio Fava
Northwestern University Press, 2007
Winner, 2007 University & College Designers Association Design Award
Nobody says Shakespeare is dead, Antonio Fava tells us, but Commedia, they say, is dead. Why? Because clearly, he goes on, we have Shakespeare's texts, but nobody knows what to do with the improvisation that is the basis of the Commedia dell'Arte, despite massive documentation. This book by Fava, one of the few living master teachers of Commedia dell'Arte, is the first aesthetic and methodological study of the traditional Italian theater form--the first to describe, in a precise and practical way, what Commedia is and what it should be.
The mask--as object, symbol, character, theatrical practice, even spectacle itself--is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. Drawing on twenty years of research conducted through his work as performer, director, mask maker, and scholar, he offers extensive practical, philosophical, and technical guidelines to performing the stock characters of Commedia, observing its structure, extracting its poetics, exploring its themes, and using the mask. A densely layered text combining historical fact, personal experience, philosophical speculation, and passionate opinion, and including copious illustrations--period drawings, prints, and color photographs of leather Commedia masks made by Fava himself--The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater.
Nobody says Shakespeare is dead, Antonio Fava tells us, but Commedia, they say, is dead. Why? Because clearly, he goes on, we have Shakespeare's texts, but nobody knows what to do with the improvisation that is the basis of the Commedia dell'Arte, despite massive documentation. This book by Fava, one of the few living master teachers of Commedia dell'Arte, is the first aesthetic and methodological study of the traditional Italian theater form--the first to describe, in a precise and practical way, what Commedia is and what it should be.
The mask--as object, symbol, character, theatrical practice, even spectacle itself--is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. Drawing on twenty years of research conducted through his work as performer, director, mask maker, and scholar, he offers extensive practical, philosophical, and technical guidelines to performing the stock characters of Commedia, observing its structure, extracting its poetics, exploring its themes, and using the mask. A densely layered text combining historical fact, personal experience, philosophical speculation, and passionate opinion, and including copious illustrations--period drawings, prints, and color photographs of leather Commedia masks made by Fava himself--The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater.
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Commentary and Ideology
Dante in the Renaissance
Deborah Parker
Duke University Press, 1993
Dante's Divine Comedy played a dual role in its relation to Italian Renaissance culture, actively shaping the fabric of that culture and, at the same time, being shaped by it. This productive relationship is examined in Commentary and Ideology, Deborah Parker's thorough compendium on the reception of Dante's chief work. By studying the social and historical circumstances under which commentaries on Dante were produced, the author clarifies the critical tradition of commentary and explains the ways in which this important body of material can be used in interpreting Dante's poem.
Parker begins by tracing the criticism of Dante commentaries from the nineteenth century to the present and then examines the tradition of commentary from the Middle Ages to the Renaissance. She shows how the civic, institutional, and social commitments of commentators shaped their response to the Comedy, and how commentators tried to use the poem as an authoritative source for various kinds of social legitimation. Parker discusses how different commentators dealt with a deeply political section of the poem: the damnation of Brutus and Cassius.
The scope and importance of Commentary and Ideology will command the attention of a broad group of scholars, including Italian specialists on Dante, late medievalists, students and professionals in early modern European literature, bibliographers, critical theorists, historians of literary criticism and theory, and cultural and intellectual historians.
Parker begins by tracing the criticism of Dante commentaries from the nineteenth century to the present and then examines the tradition of commentary from the Middle Ages to the Renaissance. She shows how the civic, institutional, and social commitments of commentators shaped their response to the Comedy, and how commentators tried to use the poem as an authoritative source for various kinds of social legitimation. Parker discusses how different commentators dealt with a deeply political section of the poem: the damnation of Brutus and Cassius.
The scope and importance of Commentary and Ideology will command the attention of a broad group of scholars, including Italian specialists on Dante, late medievalists, students and professionals in early modern European literature, bibliographers, critical theorists, historians of literary criticism and theory, and cultural and intellectual historians.
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Commerce with the Classics
Ancient Books and Renaissance Readers
Anthony Grafton
University of Michigan Press, 1997
The style of reading in Renaissance Europe, as seen in the margins of books and in the texts of Renaissance intellectuals themselves, is deftly charted in this welcome volume from Anthony Grafton. Growing out of the Thomas Spencer Jerome Lectures that Anthony Grafton gave at the University of Michigan in 1992, this book describes the interaction between books and readers in the Renaissance, as seen in four major case studies.
Humanists Alberti, Pico, Budé, and Kepler, all major figures of their time and now major figures in intellectual history, are examined in the light of their distinctive ways of reading. Investigating a period of two centuries, Grafton vividly portrays the ways in which book/scholar interactions--and the established traditions that were reflected in these interactions--were part of and helped shape the subjects' Humanistic philosophy. The book also indicates how these traditions have implications for the modern literary scene.
Commerce with the Classics: Ancient Books and Renaissance Readers illustrates the immense variety of the humanist readers of the Renaissance. Grafton describes life in the Renaissance library, how the act of reading was shaped by the physical environment, and various styles of reading during the time. A strong sense of what skilled reading was like in the past is built up through anecdotes, philological analysis, and documents from a wide variety of sources, many of them unpublished.
This volume will be of special interest to Renaissance and intellectual historians, students of Renaissance literature, and classicists who concern themselves with the afterlife of their texts.
Anthony Grafton is Henry Putnam University Professor of History, Princeton University.
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Commercial Visions
Science, Trade, and Visual Culture in the Dutch Golden Age
Dániel Margócsy
University of Chicago Press, 2014
Entrepreneurial science is not new; business interests have strongly influenced science since the Scientific Revolution. In Commercial Visions, Dániel Margócsy illustrates that product marketing, patent litigation, and even ghostwriting pervaded natural history and medicine—the “big sciences” of the early modern era—and argues that the growth of global trade during the Dutch Golden Age gave rise to an entrepreneurial network of transnational science.
Margócsy introduces a number of natural historians, physicians, and curiosi in Amsterdam, London, St. Petersburg, and Paris who, in their efforts to boost their trade, developed modern taxonomy, invented color printing and anatomical preparation techniques, and contributed to philosophical debates on topics ranging from human anatomy to Newtonian optics. These scientific practitioners, including Frederik Ruysch and Albertus Seba, were out to do business: they produced and sold exotic curiosities, anatomical prints, preserved specimens, and atlases of natural history to customers all around the world. Margócsy reveals how their entrepreneurial rivalries transformed the scholarly world of the Republic of Letters into a competitive marketplace.
Margócsy’s highly readable and engaging book will be warmly welcomed by anyone interested in early modern science, global trade, art, and culture.
Margócsy introduces a number of natural historians, physicians, and curiosi in Amsterdam, London, St. Petersburg, and Paris who, in their efforts to boost their trade, developed modern taxonomy, invented color printing and anatomical preparation techniques, and contributed to philosophical debates on topics ranging from human anatomy to Newtonian optics. These scientific practitioners, including Frederik Ruysch and Albertus Seba, were out to do business: they produced and sold exotic curiosities, anatomical prints, preserved specimens, and atlases of natural history to customers all around the world. Margócsy reveals how their entrepreneurial rivalries transformed the scholarly world of the Republic of Letters into a competitive marketplace.
Margócsy’s highly readable and engaging book will be warmly welcomed by anyone interested in early modern science, global trade, art, and culture.
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Common Prayer
The Language of Public Devotion in Early Modern England
Ramie Targoff
University of Chicago Press, 2001
Common Prayer explores the relationship between prayer and poetry in the century following the Protestant Reformation. Ramie Targoff challenges the conventional and largely misleading distinctions between the ritualized world of Catholicism and the more individualistic focus of Protestantism. Early modern England, she demonstrates, was characterized less by the triumph of religious interiority than by efforts to shape public forms of devotion. This provocatively revisionist argument will have major implications for early modern studies.
Through readings of William Shakespeare's Hamlet, Richard Hooker's Lawes of Ecclesiastical Politie, Philip Sidney's Apology for Poetry and his translations of the Psalms, John Donne's sermons and poems, and George Herbert's The Temple, Targoff uncovers the period's pervasive and often surprising interest in cultivating public and formalized models of worship. At the heart of this study lies an original and daring approach to understanding the origins of devotional poetry; Targoff shows how the projects of composing eloquent verse and improving liturgical worship come to be deeply intertwined. New literary practices, then, became a powerful means of forging common prayer, or controlling private and otherwise unmanageable expressions of faith.
Through readings of William Shakespeare's Hamlet, Richard Hooker's Lawes of Ecclesiastical Politie, Philip Sidney's Apology for Poetry and his translations of the Psalms, John Donne's sermons and poems, and George Herbert's The Temple, Targoff uncovers the period's pervasive and often surprising interest in cultivating public and formalized models of worship. At the heart of this study lies an original and daring approach to understanding the origins of devotional poetry; Targoff shows how the projects of composing eloquent verse and improving liturgical worship come to be deeply intertwined. New literary practices, then, became a powerful means of forging common prayer, or controlling private and otherwise unmanageable expressions of faith.
[more]
Commons and Lords
A Short Anthropology of Parliament
Emma Crewe
Haus Publishing, 2015
The British Parliament rewards close scrutiny not just for the sake of democracy, but also because the surprises it contains challenge our understanding of British politics. Commons and Lords pulls back the curtain on both the upper House of Lords and the lower House of Commons to examine their unexpected inner workings.
Based on fieldwork within both Houses, this volume in the Haus Curiosities series provides a surprising twist in how relationships in each play out. The high social status of peers in the House of Lords gives the impression of hierarchy and, more specifically, patriarchy. In contrast, the House of Commons conjures impressions of equality and fairness between members. But actual observation reveals the opposite: while the House of Lords has an egalitarian and cooperative ethos that is also supportive of female members, the competitive and aggressive House of Commons is a far less comfortable place for women. Offering many surprises and secrets, this book exposes the sheer oddity of the British parliament system.
Based on fieldwork within both Houses, this volume in the Haus Curiosities series provides a surprising twist in how relationships in each play out. The high social status of peers in the House of Lords gives the impression of hierarchy and, more specifically, patriarchy. In contrast, the House of Commons conjures impressions of equality and fairness between members. But actual observation reveals the opposite: while the House of Lords has an egalitarian and cooperative ethos that is also supportive of female members, the competitive and aggressive House of Commons is a far less comfortable place for women. Offering many surprises and secrets, this book exposes the sheer oddity of the British parliament system.
[more]
Community and Solitude
New Essays on Johnson’s Circle
Lee, Anthony W
Bucknell University Press, 2019
Samuel Johnson’s life was situated within a rich social and intellectual community of friendships—and antagonisms. Community and Solitude is a collection of ten essays that
explores relationships between Johnson and several of his main contemporaries—including James Boswell, Edmund Burke, Frances Burney, Robert Chambers, Oliver Goldsmith, Bennet Langton, Arthur Murphy, Richard Savage, Anna Seward, and Thomas Warton—and analyzes some of the literary productions emanating from the pressures within those relationships. In their detailed and careful examination of particular works situated within complex social and personal contexts, the essays in this volume offer a “thick” and illuminating description of Johnson’s world that also engages with larger cultural and aesthetic issues, such as intertextuality, literary celebrity, narrative, the nature of criticism, race, slavery, and sensibility.
Contributors: Christopher Catanese, James Caudle, Marilyn Francus, Christine Jackson-Holzberg, Claudia Thomas Kairoff, Elizabeth Lambert, Anthony W. Lee, James E. May, John Radner, and Lance Wilcox.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
explores relationships between Johnson and several of his main contemporaries—including James Boswell, Edmund Burke, Frances Burney, Robert Chambers, Oliver Goldsmith, Bennet Langton, Arthur Murphy, Richard Savage, Anna Seward, and Thomas Warton—and analyzes some of the literary productions emanating from the pressures within those relationships. In their detailed and careful examination of particular works situated within complex social and personal contexts, the essays in this volume offer a “thick” and illuminating description of Johnson’s world that also engages with larger cultural and aesthetic issues, such as intertextuality, literary celebrity, narrative, the nature of criticism, race, slavery, and sensibility.
Contributors: Christopher Catanese, James Caudle, Marilyn Francus, Christine Jackson-Holzberg, Claudia Thomas Kairoff, Elizabeth Lambert, Anthony W. Lee, James E. May, John Radner, and Lance Wilcox.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
[more]
The Complete Danteworlds
A Reader's Guide to the Divine Comedy
Guy P. Raffa
University of Chicago Press, 2009
Dante Alighieri’s Divine Comedy has, despite its enormous popularity and importance, often stymied readers with its multitudinous characters, references, and themes. But until the publication in 2007 of Guy Raffa’s guide to the Inferno, students lacked a suitable resource to help them navigate Dante’s underworld. With this new guide to the entire Divine Comedy, Raffa provides readers—experts in the Middle Ages and Renaissance, Dante neophytes, and everyone in between—with a map of the entire poem, from the lowest circle of Hell to the highest sphere of Paradise.
Based on Raffa’s original research and his many years of teaching the poem to undergraduates, The CompleteDanteworlds charts a simultaneously geographical and textual journey, canto by canto, region by region, adhering closely to the path taken by Dante himself through Hell, Purgatory, and Paradise. This invaluable reference also features study questions, illustrations of the realms, and regional summaries. Interpreting Dante’s poem and his sources, Raffa fashions detailed entries on each character encountered as well as on many significant historical, religious, and cultural allusions.
[more]
The Complete Fables of Jean de La Fontaine
Jean de La Fontaine
University of Illinois Press, 2007
Inspired new translations of the work of one of the world's greatest fabulists
Told in an elegant style, Jean de la Fontaine's (1621-95) charming animal fables depict sly foxes and scheming cats, vain birds and greedy wolves, all of which subtly express his penetrating insights into French society and the beasts found in all of us. Norman R. Shapiro has been translating La Fontaine's fables for over twenty years, capturing the original work's lively mix of plain and archaic language. This newly complete translation is destined to set the English standard for this work.
Awarded the Lewis Galantière Prize by the American Translators Association, 2008.
[more]
The Complete Fables of Jean de la Fontaine
Jean de la Fontaine, edited and with a rhymed verse translation by Norman B. Spector
Northwestern University Press, 1988
This edition of Jean de La Fontaine’s fables includes an English translation published alongside the French text. Norman Spector adapted the French text from the 1883-85 edition by Henri Régnier, adding four tales from the 1962 edition by Georges Couton. Spector’s translation is in rhymed verse, and remains faithful to the original not only in metrical patterns and rhyme schemes but also in tone: wit and le mot juste are skillfully and wonderfully combined. This translation gives the reader of English a chance to enjoy the grace, wit, and versatility of La Fontaine.
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Complete Poems
John Keats
Harvard University Press, 1991
Here is the first reliable edition of Keats's complete poems designed expressly for general readers and students. Jack Stillinger provides helpful explanatory notes to the poems which give dates of composition, identify quotations and allusions, gloss names and words not included in the ordinary desk dictionary, and refer the reader to the best critical interpretations of the poems. The new introduction provides central facts about Keats's life and career, describes the themes of his best work, and speculates on the causes of his greatness.
[more]
The Complete Poems of Michelangelo
Michelangelo
University of Chicago Press, 1998
There is no artist more celebrated than Michelangelo. Yet the magnificence of his achievements as a visual artist often overshadow his devotion to poetry. Michelangelo used poetry to express what was too personal to display in sculpture or painting. John Frederick Nims has brought the entire body of Michelangelo's verse, from the artist's ardent twenties to his anguished and turbulent eighties, to life in English in this unprecedented collection. The result is a tantalizing glimpse into a most fascinating mind.
"Wonderful. . . . Nims gives us Michelangelo whole: the polymorphous love sonneteer, the political allegorist, and the solitary singer of madrigals."—Kirkus Reviews
"A splendid, fresh and eloquent translation. . . . Nims, an eminent poet and among the best translators of our time, conveys the full meaning and message of Michelangelo's love sonnets and religious poems in fluently rhymed, metrical forms."—St. Louis Post-Dispatch
"The best so far. . . . Nims is best at capturing the sound and sense of Michelangelo's poetic vocabulary."—Choice
"Surely the most compelling translations of Michelangelo currently available in English."—Ronald L. Martinez, Washington Times
"Wonderful. . . . Nims gives us Michelangelo whole: the polymorphous love sonneteer, the political allegorist, and the solitary singer of madrigals."—Kirkus Reviews
"A splendid, fresh and eloquent translation. . . . Nims, an eminent poet and among the best translators of our time, conveys the full meaning and message of Michelangelo's love sonnets and religious poems in fluently rhymed, metrical forms."—St. Louis Post-Dispatch
"The best so far. . . . Nims is best at capturing the sound and sense of Michelangelo's poetic vocabulary."—Choice
"Surely the most compelling translations of Michelangelo currently available in English."—Ronald L. Martinez, Washington Times
[more]
The Complete Poems
The 1554 Edition of the "Rime," a Bilingual Edition
Gaspara Stampa
University of Chicago Press, 2010
Gaspara Stampa (1523?-1554) is one of the finest female poets ever to write in Italian. Although she was lauded for her singing during her lifetime, her success and critical reputation as a poet emerged only after her verse was republished in the early eighteenth century. Her poetry runs the gamut of human emotion, ranging from ecstasy over a consummated love affair to despair at its end. While these tormented works and their multiple male addressees have led to speculation that Stampa may have been one of Venice’s famous courtesans, they can also be read as a rebuttal of typical assumptions about women’s roles. Championed by Rainer Maria Rilke, among others, she has more recently been celebrated by feminist scholars for her distinctive and original voice and her challenge to convention.
The first complete translation of Stampa into English, this volume collects all of her passionate and lyrical verse. It is also the first modern critical edition of her poems, and in restoring the original sequence of the 1554 text, it allows readers the opportunity to encounter Stampa as she intended. Jane Tylus renders Stampa’s verse in precise and graceful English translations, allowing a new generation of students and scholars of poetry, Renaissance literature, and music history to rediscover this incipiently modern Italian poet.
[more]
Complete Poetry and Prose
A Bilingual Edition
Louise Labé
University of Chicago Press, 2006
Thanks to her acclaimed volume of poetry and prose published in France in 1555, Louise Labé (1522-66) remains one of the most important and influential women writers of the Continental Renaissance. Best known for her exquisite collection of love sonnets, Labé played off the Petrarchan male tradition with wit and irony, and her elegies respond with lyric skill to predecessors such as Sappho and Ovid. The first complete bilingual edition of this singular and broad-ranging female author, Complete Poetry and Prose also features the only translations of Labé's sonnets to follow the exacting rhyme patterns of the originals and the first rhymed translation of Labé's elegies in their entirety.
[more]
The Complete Prose Works of Matthew Arnold
Volume XI. The Last Word
Matthew Arnold
University of Michigan Press, 1977
Essays on literary criticism, public education, and Irish home rule are included in the final volume of this series
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The Complete Works of Robert Browning Volume I
With Variant Readings And Annotations
Robert Browning
Ohio University Press, 1969
The Complete Works of Robert Browning Volume II
With Variant Readings And Annotations
Robert Browning
Ohio University Press, 1971
The Complete Works of Robert Browning Volume III
With Variant Readings And Annotations
Robert Browning
Ohio University Press, 1972
The Complete Works of Robert Browning Volume VI
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 1996
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.?
The sixth in the projected seventeen-volume work, this volume covers the second half of Men and Women (1855), perhaps Browning's most famous collection, and the entirety of Dramatis Personae (1864), the first book Browning produced after the death of Elizabeth Barrett Browning in 1861.
Men and Women II contains several great dramatic poems on which Browning's reputation still depends, including "Andrea del Sarto," "Saul," and "Cleon." It also includes the more intimate and personal works "The Guardian Angel" and "One Word More," as well as the mysterious "Women and Roses." The Brownings' shared interests in Renaissance art and nineteenth-century Italian politics inform the challenging "Old Pictures in Florence."
The publication of Dramatis Personae was a key event in the rapid rise of Browning's fame in the 1860s, though the collection is marked by a welter of conflicting impulses that arose after the poet left Italy and his married life behind. The classic monologues "Rabbi Ben Ezra" and "Abt Vogler" are here, but beside them Browning placed the nearly surreal "Caliban upon Setebos" and the achingly self-regarding "James Lee's Wife," one of the volume's handful of dramatic lyrics about betrayed or failed relationships. Also included are "A Death in the Desert," which contributed to the intense Victorian debate about scriptural validity and religious authority; and "Mr Sludge, 'The Medium,'" Browning's ferocious, pyrotechnic exposé of a spiritualist fraud.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
The sixth in the projected seventeen-volume work, this volume covers the second half of Men and Women (1855), perhaps Browning's most famous collection, and the entirety of Dramatis Personae (1864), the first book Browning produced after the death of Elizabeth Barrett Browning in 1861.
Men and Women II contains several great dramatic poems on which Browning's reputation still depends, including "Andrea del Sarto," "Saul," and "Cleon." It also includes the more intimate and personal works "The Guardian Angel" and "One Word More," as well as the mysterious "Women and Roses." The Brownings' shared interests in Renaissance art and nineteenth-century Italian politics inform the challenging "Old Pictures in Florence."
The publication of Dramatis Personae was a key event in the rapid rise of Browning's fame in the 1860s, though the collection is marked by a welter of conflicting impulses that arose after the poet left Italy and his married life behind. The classic monologues "Rabbi Ben Ezra" and "Abt Vogler" are here, but beside them Browning placed the nearly surreal "Caliban upon Setebos" and the achingly self-regarding "James Lee's Wife," one of the volume's handful of dramatic lyrics about betrayed or failed relationships. Also included are "A Death in the Desert," which contributed to the intense Victorian debate about scriptural validity and religious authority; and "Mr Sludge, 'The Medium,'" Browning's ferocious, pyrotechnic exposé of a spiritualist fraud.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning, Volume X
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 1999
The Complete Works of Robert Browning, Volume X contains critical editions of Balaustion's Adventure: Including a Transcript from Euripides and Prince Hohenstiel-Schwangau, Saviour of Society. Both published in 1871, these two long poems take up a pair of subjects that held enduring fascination for Robert and Elizabeth Barrett Browning: classical Greek literature and the career of Napoleon III, Emperor of France. Balaustion's Adventure, which the poet characterized as merely a “May-month amusement,” was surprisingly successful with the reading public that paid more attention to Browning after the triumph of The Ring and the Book in 1868-69. His first poem since the publication of that masterpiece, Balaustion's Adventure creates a charming and brave narrator who recalls in vivid detail a performance of Euripides' play Alcestis.
Browning began a poem on Louis Napoleon in 1860, but not until after the fall of the Second Empire in 1870 did he attempt a full-scale portrait of the French emperor. As an exercise in self-justification, Prince Hohenstiel-Schwangau falls into a familiar sub-genre of Browning's dramatic monologues. The most intriguing aspect of the poem lies in its biographical importance: the character and career of Napoleon III was a topic of sustained, sharp disagreement between Robert and Elizabeth Browning.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
Browning began a poem on Louis Napoleon in 1860, but not until after the fall of the Second Empire in 1870 did he attempt a full-scale portrait of the French emperor. As an exercise in self-justification, Prince Hohenstiel-Schwangau falls into a familiar sub-genre of Browning's dramatic monologues. The most intriguing aspect of the poem lies in its biographical importance: the character and career of Napoleon III was a topic of sustained, sharp disagreement between Robert and Elizabeth Browning.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning, Volume XI
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 2008
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
Volume XI of The Complete Works of Robert Browning contains two strikingly disparate long poems from the 1870s, Fifine at the Fair and Red Cotton Night-Cap Country. In Fifine at the Fair, Browning creates an idiosyncratic version of the Don Juan figure, a distinctly post-Romantic and intellectual Don Juan who derives little from any literary predecessor. The legendary character is realized in a modern French setting, the village of Pornic, a favorite vacation spot for Browning. The poem is a sustained exercise in self-justification and casuistry, with Don Juan persuading himself that he can reconcile his love of his wife with his carnal love for a gipsy girl.
Though Red Cotton Night-Cap Country is similarly concerned with a struggle between spirit and flesh, the poem is entirely based in contemporary events. Using newspaper accounts and legal documents, Browning tells the strange and shocking tale of a rich and devout Frenchman who throws himself from the roof of his chateau, convinced that heaven will deliver him from death. Upon the question of his sanity hinges the disposition of his considerable estate, and the poet traces the claims and counterclaims to their settlement in court only a few months before he wrote the poem.
As always in this series of critical editions, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning Volume XIII
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 1995
In the 1880s, the aging Browning showed once again the remarkable versatility of his lyric and narrative talents. Ranging across eras and cultures, the books here reveal his late thoughts about history, myth, legend, faith, love, and desire. He had never been more popular, and the founding of the Browning Society in 1881 expanded both his audience and his sense of his place in English letters. The first title in Volume XV is Dramatic Idylls, Second Series (1880). Taking his subjects from classical history, colonial India, Arabian legend, medieval sorcery, Jewish folk tales, and Greek myth, Browning startles the reader with the rapidity of his thought and the inventiveness of his art. In Jocoseria (1883) Browning’s subjects range across time and space from Hebraic legend to the England of the Romantics. Such variety helped attract new readers: Jocoseria was immediately successful, and a second edition was printed in the same year as the first. Although Browning’s next volume, Ferishtah’s Fancies (1884), was so popular that three editions were printed in less than two years, this artful string of anecdotes and lyrics has attracted little favorable criticism. The materials— Persian legends and Arabic backgrounds—chimed with the wildly popular Orientalism of FitzGerald’s Rubáiyát, Whistler’s Peacock Room, and Alma-Tadema’s paintings. But the thought was pure Browning in his most optimistic vein, and not at all in tune with the growing pessimism of the day. As always in this series of critical editions, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning, Volume XIV
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 2003
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.?
Volume XIV of The Complete Works of Robert Browning records a transition in the poet's career. With The Agamemnon of Aeschylus (1877), Browning ended his experiments with classical sources, creating his "transcript" — not quite a translation — of the Greek original and providing an intriguing explanation for his approach. La Saisiaz, the deeply personal expression of Browning's shock at the sudden death of a dear friend, was published in 1878 with The Two Poets of Croisic, an extended ironic meditation on literary fame. Browning's collection of six poems under the title Dramatic Idyls (1879) marks the poet's return to the dramatic forms he perfected in Men and Women and Dramatis Personae, and a revival of his interest in the psychology of motives.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
Volume XIV of The Complete Works of Robert Browning records a transition in the poet's career. With The Agamemnon of Aeschylus (1877), Browning ended his experiments with classical sources, creating his "transcript" — not quite a translation — of the Greek original and providing an intriguing explanation for his approach. La Saisiaz, the deeply personal expression of Browning's shock at the sudden death of a dear friend, was published in 1878 with The Two Poets of Croisic, an extended ironic meditation on literary fame. Browning's collection of six poems under the title Dramatic Idyls (1879) marks the poet's return to the dramatic forms he perfected in Men and Women and Dramatis Personae, and a revival of his interest in the psychology of motives.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning, Volume XV
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 2007
In the 1880s, the aging Browning showed once again the remarkable versatility of his lyric and narrative talents. Ranging across eras and cultures, the books here reveal his late thoughts about history, myth, legend, faith, love, and desire. He had never been more popular, and the founding of the BrowningSociety in 1881 expanded both his audience and his sense of his place in English letters.The first title in Volume XV is Dramatic Idylls, Second Series (1880). Taking his subjects from classical history, colonial India, Arabian legend, medieval sorcery, Jewish folk tales, and Greek myth, Browning startles the reader with the rapidity of his thought and the inventiveness of his art. In Jocoseria (1883) Browning’s subjects range across time and space from Hebraic legend to the England of the Romantics. Such variety helped attract new readers: Jocoseria was immediately successful, and a second edition was printed in the same year as the first.Although Browning’s next volume, Ferishtah’s Fancies (1884), was so popular that three editions were printed in less than two years, this artful string of anecdotes and lyrics has attracted little favorable criticism. The materials— Persian legends and Arabic backgrounds—chimed with the wildly popularOrientalism of FitzGerald’s Rubáiyát, Whistler’s Peacock Room, and Alma-Tadema’s paintings. But the thought was pure Browning in his most optimistic vein, and not at all in tune with the growing pessimism of the day.As always in this series of critical editions, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Robert Browning Volume XVI
With Variant Readings and Annotations
Robert Browning
Ohio University Press, 1998
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.?
Robert Browning wrote Parleyings with Certain People of Importance in Their Day in his seventy-third year. The work is a capstone to the poet's long career, encompassing autobiography as well as influences bearing on the poet's life and career and on Victorian thought and culture in general. One of Browning's most complex works, Parleyings is also a work essential to understanding his genius and career as a whole. The Ohio/Baylor Browning edition offers keys to the complexity and interest of Parleyings through a definitive, emended text, full annotations for allusions both explicit and implicit in the text, and variant readings for the manuscript and all editions revised by Browning during his lifetime.
In form and structure, Parleyings is a series of seven poems written in Browning's own voice and addressed to figures influential in his development. The series is framed by a prologue and an epilogue, the whole amounting to some 3,500 lines. The poems are a formal contrast and a pendant to the great series of linked dramatic monologues in The Ring and the Book. They demonstrate the zest for innovation possessed by the master of the dramatic monologue in his ripe maturity. Interested readers as well as students and scholars of Browning will find a rich field of poetry and a critical mass of resources in Volume XVI of the Ohio/Baylor Browning edition.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
Robert Browning wrote Parleyings with Certain People of Importance in Their Day in his seventy-third year. The work is a capstone to the poet's long career, encompassing autobiography as well as influences bearing on the poet's life and career and on Victorian thought and culture in general. One of Browning's most complex works, Parleyings is also a work essential to understanding his genius and career as a whole. The Ohio/Baylor Browning edition offers keys to the complexity and interest of Parleyings through a definitive, emended text, full annotations for allusions both explicit and implicit in the text, and variant readings for the manuscript and all editions revised by Browning during his lifetime.
In form and structure, Parleyings is a series of seven poems written in Browning's own voice and addressed to figures influential in his development. The series is framed by a prologue and an epilogue, the whole amounting to some 3,500 lines. The poems are a formal contrast and a pendant to the great series of linked dramatic monologues in The Ring and the Book. They demonstrate the zest for innovation possessed by the master of the dramatic monologue in his ripe maturity. Interested readers as well as students and scholars of Browning will find a rich field of poetry and a critical mass of resources in Volume XVI of the Ohio/Baylor Browning edition.
As always in this acclaimed series, a complete record of textual variants is provided, as well as extensive explanatory notes.
[more]
The Complete Works of Roberts Browning, Volume IV
Browning, Robert
Ohio University Press, 1973
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
[more]
A Concordance to the French Poetry and Prose of John Gower
R. F. Yeager
Michigan State University Press, 1997
That the poet John Gower was a major literary figure in England at the close of the fourteenth century is no longer in question. Scholarly attention paid to him and to his work over the past twenty- five years has redeemed him from an undeserved obscurity imposed by the preceding two hundred. The facts of his life and career are now documented, and recent critical assessment has placed his achievement most accurately alongside Chaucer's, Langland's, and the Gawain- poet's.
Unique among his contemporaries, all of whom undoubtedly read and used French in some measure, Gower alone has left us a significant body of verse and prose in Anglo-Norman; chiefly, the twelve-stanza poem Mirour de l-Omme, the Cinkante Balades, and the Traitié pour les amantz marietz. We are offered in this concordance of his Anglo- Norman work a unique opportunity to view a poetic language as it was written and read in England until Gower's death in 1408 and beyond.
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Confessions of the Letter Closet
Epistolary Fiction and Queer Desire in Modern Spain
Patrick Paul Garlinger
University of Minnesota Press, 2005
By the beginning of the twentieth century, epistolary novels in Spain increasingly grappled with homoerotic and homosexual desire, treating it as a secret communicated through private letters from one reader to another. Patrick Paul Garlinger reveals how this confidential model persists in these fictions of letter writing from the early twentieth century to the present, framing expressions of queer desire in confessional terms: secrecy, guilt, morality, and shame.Confessions of the Letter Closet draws on queer theory and psychoanalysis, archival research on letter writing as a social practice and on the advent of the postal system in Spain, and historical insights into the impact of Spanish laws regarding the inviolability of correspondence on epistolary fiction. Garlinger examines how the epistolary novel represents - and is implicated in - the homophobia and psychic ambivalence around sexuality and identity with which Spanish gays and lesbians struggle, despite significant legal advances and increased social tolerance.Addressing both male and female desire and drawing links to epistolary traditions outside of Spain, Confessions of the Letter Closet goes beyond the specifics of Spanish literature to contribute more broadly to queer theory, the study of epistolary fiction, and an understanding of autobiography and confessional discourse.
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Connected by the Ear
The Media, Pedagogy, and Politics of the Romantic Lecture
Sean Franzel
Northwestern University Press, 2013
In this innovative new study, Sean Franzel charts the concurrent emergence of German Romantic pedagogy, the modern research university, and modern visions of the politically engaged scholar. At the heart of the pedagogy of Immanuel Kant, Johann Gottlieb Fichte, K. P. Moritz, A. W. Schlegel, Adam Müller, and others was the lecture, with its ability to attract listeners and to model an ideal discursive community, reflecting an era of revolution, reform, and literary, philosophical, and scientific innovation.
Along with exploring the striking preoccupation of Romantic thinkers with the lecture and with its reverberations in print, Franzel argues that accounts of scholarly speech from this period have had a lasting impact on how the pedagogy, institutions, and medial manifestations of modern scholarship continue to be understood.
"Sean Franzel’s archaeology illuminates both the bourgeois public sphere and discourse network 1800 by showing the romantic lecture to be the key cultural form in a pivotal moment of German intellectual history, a history long obsessed with the mediation of oral discourse and written text."—John Durham Peters, author of Speaking into the Air
[more]
The Conquest of Ruins
The Third Reich and the Fall of Rome
Julia Hell
University of Chicago Press, 2019
The Roman Empire has been a source of inspiration and a model for imitation for Western empires practically since the moment Rome fell. Yet, as Julia Hell shows in The Conquest of Ruins, what has had the strongest grip on aspiring imperial imaginations isn’t that empire’s glory but its fall—and the haunting monuments left in its wake.
Hell examines centuries of European empire-building—from Charles V in the sixteenth century and Napoleon’s campaigns of the late seventeenth and early eighteenth centuries to the atrocities of Mussolini and the Third Reich in the 1930s and ’40s—and sees a similar fascination with recreating the Roman past in the contemporary image. In every case—particularly that of the Nazi regime—the ruins of Rome seem to represent a mystery to be solved: how could an empire so powerful be brought so low? Hell argues that this fascination with the ruins of greatness expresses a need on the part of would-be conquerors to find something to ward off a similar demise for their particular empire.
Hell examines centuries of European empire-building—from Charles V in the sixteenth century and Napoleon’s campaigns of the late seventeenth and early eighteenth centuries to the atrocities of Mussolini and the Third Reich in the 1930s and ’40s—and sees a similar fascination with recreating the Roman past in the contemporary image. In every case—particularly that of the Nazi regime—the ruins of Rome seem to represent a mystery to be solved: how could an empire so powerful be brought so low? Hell argues that this fascination with the ruins of greatness expresses a need on the part of would-be conquerors to find something to ward off a similar demise for their particular empire.
[more]
Conrad and Empire
Stephen Ross
University of Missouri Press, 2004
In Conrad and Empire, Stephen Ross challenges the orthodoxy of the last thirty years of Conrad criticism by arguing that to focus on issues of race and imperialism in Conrad’s work is to miss the larger and more important engagement with developing globalization undertaken there. Drawing on the conceptual model provided by Arjun Appadurai and by Michael Hardt and Antonio Negri, Ross maintains that Conrad’s major novels confront an emergent new world order that replaces nation-state-based models of geopolitics with the global rule of capitalism, and shows how Conrad supplements this conceptualization by tracing the concrete effects of such a change on the psyches of individual subjects. Borrowing from Slavoj Žižek and Jacques Lacan, Ross contends that Conrad’s major novels present us with an astute vision of a truly global world order.
Devoting a chapter to each novel, the author analyzes Heart of Darkness,Lord Jim, Nostromo, and The Secret Agent to expose their social vision, their concern with individual experience, and their philosophical synthesis of the two. After showing how Conrad sets the stage, Ross considers selected characters’ personal histories and the family romances by which Conrad sheds light on individual characters’ motives, exposing the penetration of ideological forces into personal lives. He then shows how the drama of slave morality in each of the novels synthesizes their critique of social organization and their attention to personal history by revealing how each novel follows an individual character’s doomed attempt to transcend the totalizing dimensions of Empire.
Ross claims that though postcolonial criticisms of Conrad’s work have produced excellent insights, they remain inadequate to understanding its complexity. Instead, he argues, Conrad’s novels should be read for their compellingly prescient vision of a postnational world under the sway of global capitalism. Although Conrad’s vision of that world is undeniably bleak, Ross believes, his almost willful reaffirmation of the very values he has shown to be bankrupt constitutes a “weak idealism.” Consequently, Ross argues, Conrad’s fiction is profoundly ethical and pertinent to the pressing project of how to live in a bewilderingly variable world.
[more]
Conrad's Shadow
Catastrophe, Mimesis, Theory
Nidesh Lawtoo
Michigan State University Press, 2016
Western thought has often dismissed shadows as fictional, but what if fictions reveal original truths? Drawing on an anti-Platonic tradition in critical theory, Lawtoo adopts ethical, anthropological, and philosophical lenses to offer new readings of Joseph Conrad’s novels and the postcolonial and cinematic works that respond to his oeuvre. He argues that Conrad’s fascination with doubles urges readers to reflect on the two sides of mimesis: one side is dark and pathological, and involves the escalation of violence, contagious epidemics, and catastrophic storms; the other side is luminous and therapeutic, and promotes communal survival, postcolonial reconciliation, and plastic adaptations to changing environments. Once joined, the two sides reveal Conrad as an author whose Janus-faced fictions are powerfully relevant to our contemporary world of global violence and environmental crisis.
[more]
Conspicuous Bodies
Provincial Belief and the Making of Joyce and Rushdie
Jean Kane
The Ohio State University Press, 2014
In Conspicuous Bodies: Provincial Belief and the Making of Joyce and Rushdie, Jean Kane re-examines the literature of James Joyce and Salman Rushdie from a post-secularist perspective, arguing that their respective religions hold critical importance in their works. Though Joyce and Rushdie were initially received as cosmopolitans, both authors subsequently reframed their public images and aligned themselves instead with a provincial religious identity, which emphasized the interconnections between religious devotion and embodiment. At the same time, both Joyce and Rushdie managed to resist the doctrinal content of their religions.
Conspicuous Bodies presents Joyce as a founder and Rushdie as an inheritor of a distinctive discourse of belief about the importance of physical bodies and knowledge in religious practice. In doing so, it moves the reception of Joyce and Rushdie away from what previous critics have emphasized—away from questions of aesthetics and from a narrow understanding of belief—and instead questions the assumption that belief should be segregated from matters of physicality and knowledge. Kane reintroduces the concept of spiritual embodiment in order to expand our understanding of what counts as spiritual agency in non-western and minority literatures.
Conspicuous Bodies presents Joyce as a founder and Rushdie as an inheritor of a distinctive discourse of belief about the importance of physical bodies and knowledge in religious practice. In doing so, it moves the reception of Joyce and Rushdie away from what previous critics have emphasized—away from questions of aesthetics and from a narrow understanding of belief—and instead questions the assumption that belief should be segregated from matters of physicality and knowledge. Kane reintroduces the concept of spiritual embodiment in order to expand our understanding of what counts as spiritual agency in non-western and minority literatures.
[more]
Constancy and the Ethics of Jane Austen's 'Mansfield Park'
Joyce Kerr Tarpley
Catholic University of America Press, 2010
Constancy and the Ethics of Jane Austen's Mansfield Park offers a rigorous philosophical examination of the novel, the first book-length, close reading to do so.
[more]
A Constant Journey
The Fiction of Monique Wittig
Erika Ostrovsky
Southern Illinois University Press, 1991
From the creation of a neuter pronoun in her earliest work, L’Opoponax, to the confusion of genres in her most recent fiction, Virgile, non, Monique Wittig uses literary subversion and invention to accomplish what Erika Ostrovsky appropriately defines as renversement, the annihilation of existing literary canons and the creation of highly innovative constructs.
Erika Ostrovsky explores those aspects of Wittig’s work that best illustrate her literary approach. Among the countless revolutionary devices that Wittig uses to achieve renversement are the feminization of masculine gender names, the reorganization of myth patterns, and the replacement of traditional punctuation with her own system of grammatical emphasis and separation. It is the unexpected quantity and quality of such literary devices that make reading Monique Wittig’s fiction a fresh and rewarding experience. Such literary devices have earned Wittig the acclaim of her critics and peers—Marguerite Duras, Mary McCarthy, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, to name a few.
While analyzing the intrinsic value of each of Wittig’s fictions separately, Erika Ostrovsky traces the progressive development of Wittig’s major literary devices as they appear and reappear in her fictions. Ostrovsky maintains that the seeds of those innovations that appear in Wittig’s most recent texts can be found as far back as L’Opoponax. This evidence of progression supports Ostrovsky’s theory that clues to Wittig’s future endeavors can be found in her past.
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Constructing Nineteenth-Century Religion
Literary, Historical, and Religious Studies in Dialogue
Joshua King and Winter Jade Werner
The Ohio State University Press, 2019
Bringing together scholars from literary, historical, and religious studies,Constructing Nineteenth-Century Religioninterrogates the seemingly obvious category of “religion.” This collection argues that any application of religion engages in complex and relatively modern historical processes. In considering the various ways that nineteenth-century religion was constructed, commodified, and practiced, contributors to this volume “speak” to each other, finding interdisciplinary links and resonances across a range of texts and contexts.
The participle in its title—Constructing—acknowledges that any articulation of nineteenth-century religion is never just a work of the past: scholars also actively construct religion as their disciplinary assumptions (and indeed personal and lived investments) shape their research and findings. Constructing NineteenthCentury Religion newly analyzes the diverse ways in which religion was debated and deployed in a wide range of nineteenthcentury texts and contexts. While focusing primarily on nineteenthcentury Britain, the collection also contributes to the increasingly transnational and transcultural outlook of postsecular studies, drawing connections between Britain and the United States, continental Europe, and colonial India.
The participle in its title—Constructing—acknowledges that any articulation of nineteenth-century religion is never just a work of the past: scholars also actively construct religion as their disciplinary assumptions (and indeed personal and lived investments) shape their research and findings. Constructing NineteenthCentury Religion newly analyzes the diverse ways in which religion was debated and deployed in a wide range of nineteenthcentury texts and contexts. While focusing primarily on nineteenthcentury Britain, the collection also contributes to the increasingly transnational and transcultural outlook of postsecular studies, drawing connections between Britain and the United States, continental Europe, and colonial India.
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CONSUMING FANTASIES
LABOR, LEISURE, AND THE LONDON SHOPGIRL,
LISE SHAPIRO SANDERS
The Ohio State University Press, 2006
Consumption and Violence
Radical Protest in Cold-War West Germany
Alexander Sedlmaier
University of Michigan Press, 2014
Combining the tools of political, social, cultural, and intellectual history, Consumption and Violence: Radical Protest in Cold-War West Germany explores strategies of legitimization developed by advocates of militant resistance to certain manifestations of consumer capitalism. The book contributes to a more sober evaluation of West German protest movements, not just terrorism, as it refrains from emotional and moral judgments, but takes the protesters’ approaches seriously, which, regarding consumer society, had a rational core. Political violence is not presented as the result of individual shortcomings, but emerges in relation to major societal changes, i.e., the unprecedented growth of consumption. This new perspective sheds important light on violence and radical protest in post-war Germany, as previous books have failed to examine to what extent these forms of resistance should be regarded as reactions to changing regimes of provision. Continuing the recently growing interest in the interdependence of countercultures and consumer society, the focus on violence gives the argument a unique twist, making the book thought-provoking and engaging.
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Contemporary Advances in Theoretical and Applied Spanish Linguistic Variation
Juan J. Colomina-Almiñana
The Ohio State University Press, 2017
Contemporary Advances in Theoretical and Applied Spanish Linguistic Variation by Juan J. Colomina-Almiñana, reframes the understanding of language variation and change as an intimate interplay between both linguistic features and social factors always occurring in unison in the same historical process. Its ten chapters, divided into four parts, provide both a synchronic and a diachronic view of Hispanic sociolinguistics, focusing not only on the historical development of Spanish as a Romance language, but also analyzing certain idiosyncratic elements of non-standard Spanish varieties across multiple regions, nations, and diasporas. In addition, the volume offers an enchronic perspective of this phenomenon by analyzing how certain sustained cultural practices may drive concrete linguistic developments.
This volume makes three major contributions to Hispanic sociolinguistics. First, it covers variation in less commonly studied varieties, which are new areas of interest in a broader world where certain minorities and their languages are crucial. Second, it offers recent and innovative approaches to variation coming from formal theories in order to spark a debate about methodology that is more comprehensive of the diverse approaches to variation currently practiced in the field. Finally, it includes chapters that combine quantitative and qualitative analysis of different linguistic variables.
This volume makes three major contributions to Hispanic sociolinguistics. First, it covers variation in less commonly studied varieties, which are new areas of interest in a broader world where certain minorities and their languages are crucial. Second, it offers recent and innovative approaches to variation coming from formal theories in order to spark a debate about methodology that is more comprehensive of the diverse approaches to variation currently practiced in the field. Finally, it includes chapters that combine quantitative and qualitative analysis of different linguistic variables.
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Contemporary Dickens
Eileen Gillooly Deirdre David
The Ohio State University Press, 2008
Edited by Eileen Gillooly and Deirdre David, Contemporary Dickens is a collection of essays that presents some of the most intriguing work being undertaken in Dickens studies today. Through an emphasis on the nineteenth-century origins of our current critical preoccupations and ways of knowing, these essays reveal Dickens to be our contemporary. The contributors argue that such issues as gender and sexuality, environmentalism, and the construction of national identity were frequently explored and sometimes problematically resolved by Dickens himself. They also illuminate the importance of Dickens’s place in our current reassessment of critical methodologies.
Drawing freely upon a variety of reading strategies (materialist, deconstructive, new historical, psychoanalytic, and feminist), the essays disclose new aspects of Dickens’s engagements with a number of Victorian concerns—moral philosophy, the psychology of the emotions, and life writing among them—that have once again emerged as significant objects of study in early-twenty-first century criticism. Looking at such familiar topics from fresh perspectives, Contemporary Dickens is an original and challenging contribution to Dickens studies in particular and Victorian criticism in general.
Contemporary Dickens will appeal to general readers and students of Victorian culture, as well as specialists in nineteenth-century literature, cultural studies, literary formalism, psychology, and gender studies.
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Contemporary Irish Poetry and the Pastoral Tradition
Donna L. Potts
University of Missouri Press, 2011
In Contemporary Irish Poetry and the Pastoral Tradition, Donna L. Potts closely examines the pastoral genre in the work of six Irish poets writing today. Through the exploration of the poets and their works, she reveals the wide range of purposes that pastoral has served in both Northern Ireland and the Republic: a postcolonial critique of British imperialism; a response to modernity, industrialization, and globalization; a way of uncovering political and social repercussions of gendered representations of Ireland; and, more recently, a means for conveying environmentalism’s more complex understanding of the value of nature.
Potts traces the pastoral back to its origins in the work of Theocritus of Syracuse in the third century and plots its evolution due to cultural changes. While all pastoral poems share certain generic traits, Potts makes clear that pastorals are shaped by social and historical contexts, and Irish pastorals in particular were influenced by Ireland’s unique relationship with the land, language, and industrialization due to England’s colonization.
For her discussion, Potts has chosen six poets who have written significant collections of pastoral poetry and whose work is in dialogue with both the pastoral tradition and other contemporary pastoral poets. Three poets are men—John Montague, Seamus Heaney, Michael Longley—while three are women—Eavan Boland, Medbh McGuckian, Nuala Ní Dhomhnaill. Five are English-language authors, while the sixth—Ní Dhomhnaill—writes in Irish. Additionally, some of the poets hail from the Republic, while others originate from Northern Ireland. Potts contends that while both Irish Republic and Northern Irish poets respond to a shared history of British colonization in their pastorals, the 1921 partition of the country caused the pastoral tradition to evolve differently on either side of the border, primarily because of the North’s more rapid industrialization; its more heavily Protestant population, whose response to environmentalism was somewhat different than that of the Republic’s predominantly Catholic population; as well the greater impact of the world wars and the Irish Troubles.In an important distinction from other studies of Irish poetry, Potts moves beyond the influence of history and politics on contemporary Irish pastoral poetry to consider the relatively recent influence of ecology. Contemporary Irish poets often rely on the motif of the pastoral retreat to highlight various environmental threats to those retreats—whether they be high-rises, motorways, global warming, or acid rain. Potts concludes by speculating on the future of pastoral in contemporary Irish poetry through her examination of more recent poets—including Moya Cannon and Paula Meehan—as well as other genres such as film, drama, and fiction.
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The Context of Ancient Drama
Eric Csapo and William J. Slater
University of Michigan Press, 1995
Ancient theater has always caught contemporary interest, despite the eclectic nature of the surviving evidence. Tourists wander the remains of buildings at Epidauros and Athens, and generations of people have pondered Medea and Oedipus, yet it can be surprisingly difficult to find reliable, accessible information on these plays and their theaters. The Context of Ancient Drama remedies this situation. It provides, in modern English translation, documents that illustrate all aspects of the drama of antiquity, other than the text of the dramas themselves. For convenience the material is grouped in thematic sections, such as "music," or "judging." The illustrations give well-known examples of the kind of evidence that has survived to us. Plans of theaters are provided, to exemplify the outlines of the buildings' development, and an extensive glossary of terms offers information to the interested amateur and the theater specialist alike. The Context of Ancient Drama will be of interest to a wide spectrum of students and teachers. Theater historians, students of dramatic performance and the visual arts, and students and teachers in literature-in-translation courses will all find much that speaks to them.
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The Continental Model
Selected French Critical Essays of the Seventeenth Century in English Translation
Scott Elledge and Donald Schier, Editors
University of Minnesota Press, 1960
The Continental Model was first published in 1960. 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.
The pervasive influence of seventeenth-century French criticism upon eighteenth-century English criticism makes it important for students of English and comparative literature to be familiar with the most important of the French works. Professors Elledge and Schier bring together here, in translation, some of the best examples of the French essays. They have chosen particularly works that are not otherwise available in translation.
Some of the translations are by contemporaries of the period. These are of works by d'Aubignac, Saint-Evremond, Huet, Rapin, Le Bossu, Bouhours, La Bruyere, and Fontenelle. Other selections have been translated by Professor Schier, and these include works of Chapelain, Sarasin, Scudery, Corneille, Bouhours, and Fontenelle.
The editors provide brief and pertinent comment on each writer and his place in literary history. They have also annotated the essays in order to save time for the reader who encounters references to other literatures not immediately clear to him. The volume as a whole provides a comprehensive and balanced selection of critical texts which were known to, used by, and significant in their influence upon writers such as Dryden, Dennis, Addison, Swift, Pope, and others.
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Conversations on Science, Culture, and Time
Michel Serres with Bruno Latour
Michel Serres
University of Michigan Press, 1995
Although elected to the prestigious French Academy in 1990, Michel Serres has long been considered a maverick--a provocative thinker whose prolific writings on culture, science and philosophy have often baffled more than they have enlightened. In these five lively interviews with sociologist Bruno Latour, this increasingly important cultural figure sheds light on the ideas that inspire his highly original, challenging, and transdisciplinary essays.
Serres begins by discussing the intellectual context and historical events-- including the impact of World War II and Hiroshima, which for him marked the beginning of science's ascendancy over the humanities--that shaped his own philosophical outlook and led him to his lifelong mission of bringing together the texts of the humanities and the conceptual revolutions of modern science. He then confronts the major difficulties encountered by his readers: his methodology, his mathematician's fondness for "shortcuts" in argument, and his criteria for juxtaposing disparate elements from different epochs and cultures in extraordinary combinations. Finally, he discusses his ethic for the modern age--a time when scientific advances have replaced the natural necessities of disease and disaster with humankind's frightening new responsibility for vital things formerly beyond its control.
In the course of these conversations Serres revisits and illuminates many of his themes: the chaotic nature of knowledge, the need for connections between science and the humanities, the futility of traditional criticism, and what he calls his "philosophy of prepositions"--an argument for considering prepositions, rather than the conventionally emphasized verbs and substantives, as the linguistic keys to understanding human interactions. For readers familiar with Serres's works as well as for the uninitiated, Conversations on a Life in Philosophy provides fascinating insights into the mind of this appealing, innovative and ardent thinker.
Michel Serres has taught at Clermont-Ferrand, at the University of Paris VIII (Vincennes) and at the Sorbonne. He has served as visiting professor at Johns Hopkins University and has been on the faculty of Stanford University since 1984. Bruno Latour, a philosopher and anthropologist, is Professor of Sociology, L'Ecole Nationale Supérieure des Mines in Paris. He has written several books and numerous articles on the ties between the sciences and the rest of culture and society.
Roxanne Lapidus is Managing Editor of SubStance: A Review of Theory and Literary Criticism. Conversations on a Life in Philosophy was originally published in France as Eclaircissements.
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The Converting Imagination
Linguistic Theory and Swift's Satiric Prose
Marilyn Francus
Southern Illinois University Press, 1994
By illuminating Jonathan Swift’s fascination with language, Marilyn Francus shows how the linguistic questions posed by his work are at the forefront of twentieth-century literary criticism: What constitutes meaning in language? How do people respond to language? Who has (or should have) authority over language? Is linguistic value synonymous with literary value?
Francus starts with a detailed analysis of Swift’s linguistic education, which straddled a radical transition in linguistic thought, and its effect on his prose. This compelling beginning includes sometimes surprising historical information about the teaching and learning of linguistics and language theory in the seventeenth and eighteenth centuries. Swift’s academic studies reflected the traditional universalist view that seeks an Adamic language to reverse the fragmentation of Babel and achieve epistemological unity. But Swift’s tutor also exposed him to the contemporary linguistics of the scientific societies and of John Locke, who argued that the assignment of linguistic meaning is arbitrary and subjective, capturing an individual’s understanding at a particular instant. These competing theories, Francus maintains, help explain the Irish writer’s conflicting inclinations toward both linguistic order and freewheeling creativity.
To develop a complete vision of Swiftian linguistics, Francus focuses on A Tale of a Tub as the archetypal linguistic text in the Swift canon, but she also includes evidence from his other famous works, including Gulliver’s Travels, A Modest Proposal, Journal to Stella, and The Bickerstaff Papers, as well as from his lesser known religious and political tracts and his correspondence. In addition, Francus draws on the relevant work of contemporary linguists (such as Wilkins, Watts, Dyche, and Stackhouse), philosophers (Hobbes and Locke), and authors (including Temple, Sprat, Dryden, Pope, Addison, and Defoe).
Francus concludes that Swift occupies a pivotal place in literary history: his conscious emphasis on textuality and extended linguistic play anticipates not only the future of satiric prose but the modern novel as well.
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Cool Memories II, 1987–1990
Jean Baudrillard
Duke University Press, 1996
Jean Baudrillard is widely recognized as one of the most important and provocative writers of our age. Variously termed “France’s leading philosopher of postmodernism” and “a sharp-shooting Lone Ranger of the post-Marxist left,” he might also be called our leading philosopher of seduction or of mass culture. Following his acclaimed America and Cool Memories, this book is the third in a series of personal records in hyperreality. Idiosyncratic, outrageous, and brilliantly original, Baudrillard here casts his net widely and combines autobiographical memories with further reflections on America, the crisis of cultural production, new ideas in fiction/theory, and the “verbal fornication” of the postmodern.
In this wide-ranging discussion of events and ideas, Baudrillard moves between poetry and waterfalls, strikes and stealth bombers, Freud and La Cicciolina, shadows and simulacra, deconstruction and the zodiac, Reagan’s smile and Kennedy’s death, the “curse” on South America and the future of the West, the last tango of French intellectual life and the exemplary disappearing act of Italian politics. Writing at the site where the philosophic and the poetic merge, he once again offers us commentary in the form of the riveting insight, the short distillation of reality that establishes its truth with the force of recognition.
Cool Memories II, Baudrillard’s latest commentary on the technopresent and future, an installment of his reflections on the reality of contemporary western culture, will entice all readers concerned with postmodernism and the current state of theory.
In this wide-ranging discussion of events and ideas, Baudrillard moves between poetry and waterfalls, strikes and stealth bombers, Freud and La Cicciolina, shadows and simulacra, deconstruction and the zodiac, Reagan’s smile and Kennedy’s death, the “curse” on South America and the future of the West, the last tango of French intellectual life and the exemplary disappearing act of Italian politics. Writing at the site where the philosophic and the poetic merge, he once again offers us commentary in the form of the riveting insight, the short distillation of reality that establishes its truth with the force of recognition.
Cool Memories II, Baudrillard’s latest commentary on the technopresent and future, an installment of his reflections on the reality of contemporary western culture, will entice all readers concerned with postmodernism and the current state of theory.
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The Corporate Commonwealth
Pluralism and Political Fictions in England, 1516-1651
Henry S. Turner
University of Chicago Press, 2016
The Corporate Commonwealth traces the evolution of corporations during the English Renaissance and explores the many types of corporations that once flourished. Along the way, the book offers important insights into our own definitions of fiction, politics, and value.
Henry S. Turner uses the resources of economic and political history, literary analysis, and political philosophy to demonstrate how a number of English institutions with corporate associations—including universities, guilds, towns and cities, and religious groups—were gradually narrowed to the commercial, for-profit corporation we know today, and how the joint-stock corporation, in turn, became both a template for the modern state and a political force that the state could no longer contain. Through innovative readings of works by Thomas More, William Shakespeare, Francis Bacon, and Thomas Hobbes, among others, Turner tracks the corporation from the courts to the stage, from commonwealth to colony, and from the object of utopian fiction to the subject of tragic violence. A provocative look at the corporation’s peculiar character as both an institution and a person, The Corporate Commonwealth uses the past to suggest ways in which today’s corporations might be refashioned into a source of progressive and collective public action.
Henry S. Turner uses the resources of economic and political history, literary analysis, and political philosophy to demonstrate how a number of English institutions with corporate associations—including universities, guilds, towns and cities, and religious groups—were gradually narrowed to the commercial, for-profit corporation we know today, and how the joint-stock corporation, in turn, became both a template for the modern state and a political force that the state could no longer contain. Through innovative readings of works by Thomas More, William Shakespeare, Francis Bacon, and Thomas Hobbes, among others, Turner tracks the corporation from the courts to the stage, from commonwealth to colony, and from the object of utopian fiction to the subject of tragic violence. A provocative look at the corporation’s peculiar character as both an institution and a person, The Corporate Commonwealth uses the past to suggest ways in which today’s corporations might be refashioned into a source of progressive and collective public action.
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