A SCHOLARLY BOOK REPOSITORY410 start with D start with D
Winner, MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies
Mapping literature from Spanish-speaking sub-Saharan African and Afro-Latinx Caribbean diasporas, Decolonizing Diasporas argues that the works of diasporic writers and artists from Equatorial Guinea, Puerto Rico, the Dominican Republic, and Cuba offer new worldviews that unsettle and dismantle the logics of colonial modernity. With women of color feminisms and decolonial theory as frameworks, Yomaira C. Figueroa-Vásquez juxtaposes Afro-Latinx and Afro-Hispanic diasporic artists, analyzing work by Nelly Rosario, Juan Tomás Ávila Laurel, Trifonia Melibea Obono, Donato Ndongo, Junot Díaz, Aracelis Girmay, Loida Maritza Pérez, Ernesto Quiñonez, Christina Olivares, Joaquín Mbomio Bacheng, Ibeyi, Daniel José Older, and María Magdalena Campos-Pons. Figueroa-Vásquez’s study reveals the thematic, conceptual, and liberatory tools these artists offer when read in relation to one another.
Decolonizing Diasporas examines how themes of intimacy, witnessing, dispossession, reparations, and futurities are remapped in these works by tracing interlocking structures of oppression, including public and intimate forms of domination, sexual and structural violence, sociopolitical and racial exclusion, and the haunting remnants of colonial intervention. Figueroa-Vásquez contends that these diasporic literatures reveal violence but also forms of resistance and the radical potential of Afro-futurities.
This study centers the cultural productions of peoples of African descent as Afro-diasporic imaginaries that subvert coloniality and offer new ways to approach questions of home, location, belonging, and justice.
Deconstruction begins well before Jacques Derrida’s initial American presentation of his deconstructive work in a famed lecture at Johns Hopkins University in 1966 and continues through several decades of theoretic growth and tumult. While much of the subsequent story remains focused, inevitably, on Yale University and the personalities and curriculum that came to be lumped under the “Yale school” umbrella, Deconstruction makes clear how crucial feminism, queer theory, and gender studies also were to the lifeblood of this mode of thought. Ultimately, Jones-Katz shows that deconstruction in the United States—so often caricatured as a French infection—was truly an American phenomenon, rooted in our preexisting political and intellectual tensions, that eventually came to influence unexpected corners of scholarship, politics, and culture.
Armour shows how the writings of Jacques Derrida and Luce Irigaray can be used to uncover feminism's white presumptions so that race and gender can be thought of differently. In clear, concise terms she explores the possibilities and limitations for feminist theology of Derrida's conception of "woman" and Irigaray's "multiple woman," as well as Derrida's thinking on race and Irigaray's work on religion. Armour then points a way beyond the race/gender divide with the help of African-American theorists such as bell hooks, Hortense Spillers, and Patricia Hill Collins.
"This invaluable philosophical sampler brings together many of the threads out of which deconstruction is woven. taylor's anthology does not make deconstruction easy; much more usefully, it provides a meticulous guide to the sources – and significance – of the difficulties. – Barbara E. Johnson
"The book will be of great value as a set of readings with authoritative explanation for all those interested in the current relations of literature and philosophy. It is the best book of its kind I know. – J. Hillis Miller, Yale University
In Deep Refrains, Michael Gallope draws together the writings of Arthur Schopenhauer, Friedrich Nietzsche, Ernst Bloch, Theodor Adorno, Vladimir Jankélévitch, Gilles Deleuze, and Félix Guattari in order to revisit the age-old question of music’s ineffability from a modern perspective. For these nineteenth- and twentieth-century European philosophers, music’s ineffability is a complex phenomenon that engenders an intellectually productive sense of perplexity. Through careful examination of their historical contexts and philosophical orientations, close attention to their use of language, and new interpretations of musical compositions that proved influential for their work, Deep Refrains forges the first panoptic view of their writings on music. Gallope concludes that music’s ineffability is neither a conservative phenomenon nor a pious call to silence. Instead, these philosophers ask us to think through the ways in which music’s stunning force might address, in an ethical fashion, intricate philosophical questions specific to the modern world.
Chapter by chapter, Deep Rhetoric develops an understanding of rhetoric not only in its philosophical dimension but also as a means of guiding and conducting conflicts, achieving justice, and understanding the human condition. Along the way, Crosswhite restores the traditional dignity and importance of the discipline and illuminates the twentieth-century resurgence of rhetoric among philosophers, as well as the role that rhetoric can play in future discussions of ontology, epistemology, and ethics. At a time when the fields of philosophy and rhetoric have diverged, Crosswhite returns them to their common moorings and shows us an invigorating new way forward.
This collection investigates the conceptual and geographical mapping of early modern and Enlightenment ideas of monstrosity onto a range of differences that contested established categories. The essays consider the representations and material dimensions of phenomena as diverse as femininity and disfigurement, the material imagination and monstrous birth, ugliness as an aesthetic category, deafness and theories of sign language, and the exotic, racialized deformed. Collectively, they demonstrate that the emergence of sexual difference is inextricably intertwined with the emergence of a category of the human that is imagined and deformed, monstrous, and ugly. Contributors include Barbara Benedict, Jill Campbell, Elizabeth Heckendorn Cook, Lennard Davis, Helen Deutsch, Robert Jones, Cora Kaplan, Nicholas Mirzoeff, Felicity Nussbaum, Stephen Pender, and Joel Reed.
Helen Deutsch is Professor of English, University of California at Los Angeles. Her most recent book is Resemblance and Disgrace: Alexander Pope and the Deformation of Culture. Felicity Nussbaum is Professor of English, University of California at Los Angeles. Her most recent book is Torrid Zones: Maternity, Sexuality, and Empire in Eighteenth-Century English Narrative.
Michael W. Clune’s provocative book challenges these objections to judgment and offers a positive account of literary studies as an institution of aesthetic education. It is impossible, Clune argues, to separate judgments about literary value from the practices of interpretation and analysis that constitute any viable model of literary expertise. Clune envisions a progressive politics freed from the strictures of dogmatic equality and enlivened by education in aesthetic judgment, transcending consumer culture and market preferences. Drawing on psychological and philosophical theories of knowledge and perception, Clune advocates for the cultivation of what John Keats called “negative capability,” the capacity to place existing criteria in doubt and to discover new concepts and new values in artworks. Moving from theory to practice, Clune takes up works by Keats, Emily Dickinson, Gwendolyn Brooks, Samuel Beckett, and Thomas Bernhard, showing how close reading—the profession’s traditional key skill—harnesses judgment to open new modes of perception.
Defoe was an outsider, a man of many interests whom Black asserts evades too precise a portrait or coherent description of character and career. But he is a traveler, in the literal and imaginative senses, and in his engagement with life and its issues and willingness to associate with 'low-life' prefigures later literary giants like Smollett and Fielding. More than the establishment of genre, Defoe created the writer "whose business is observation." Black's account of this parcel of the British past is impeccable because it is in fact an account that the past, in Defoe, gives of itself. "As a writer, Defoe brought together a reality usually presented as, and endorsed by, history, with the imaginative focus of storytelling, and the direction of, variously, propaganda, analysis, and exemplary tale."
The lively, engaging chapters of this book examine texts by contemporary women writers in the context of the political, social, economic, biological, psychological, and aesthetic transformations that helped define them. Goscilo reveals that the Russian cultural revolution has reshaped the female image in varied and often contradictory ways. While increased interaction with the West fostered gender awareness, it also introduced imported Western sexist practices--especially the exploitation of female bodies--formerly proscribed by a puritanical censorship. Popular magazines, newspapers, and television propagated the image of woman as mother, ornament, and sexual object, even as women's fiction conceived of womanhood in complex psychological terms that undermined the gender stereotypes which had ruled Soviet thinking for more than 70 years.
With the aid of feminist and cultural theory, Dehexing Sex investigates the overt and internalized misogyny that combined with the genuinely liberalizing forces unleashed by Gorbachev's policy of glasnost and perestroika. It exposes Russia's repressive romance with womanhood as a metaphor for nationhood and explores Russian women's ironic recasting of national mythologies.
"Impressive . . . an important contribution to Russian studies and to women's studies. The author is an outstanding scholar, an energetic and original thinker, and her writing sparkles with imagination and wit." --Stephanie Sandler, Amherst College
Helena Goscilo is Associate Professor and Chair of Slavic Languages and Literatures, University of Pittsburgh.
Athenaeus (ca. 170ca. 230 CE), a Greek of Naucratis in Egypt, lived in Rome and wrote a historical work now lost. Of the fifteen books of his surviving Deipnosophists ('Sophists at Dinner'), the first two and parts of the third, eleventh, and fifteenth exist only in summary, the rest apparently complete. In it he pretends to tell a friend about a banquet at a scholar's house whither the learned guests brought extracts from poetry for recitation and discussion. Much of the matter however concerns the food provided and accessories. One learns about cooks, strange dishes, wines, menu cards, and countless other matters. Athenaeus was an antiquarian. The whole work, which mentions nearly eight hundred writers and two thousand five hundred writings, is a large treasury of information not only about table matters but also music, dances, games, and all sorts of literary subjects. And it abounds in quotations, mostly made direct by Athenaeus himself, from authors whose writings have not survived.
The Loeb Classical Library edition of The Deipnosophists is in seven volumes. There is a comprehensive index in the final volume.
Athenaeus (ca. 170ca. 230 CE), a Greek of Naucratis in Egypt, lived in Rome and wrote a historical work now lost. Of the fifteen books of his surviving Deipnosophists ('Sophists at Dinner'), the first two and parts of the third, eleventh, and fifteenth exist only in summary, the rest apparently complete. In it he pretends to tell a friend about a banquet at a scholar's house whither the learned guests brought extracts from poetry for recitation and discussion. Much of the matter however concerns the food provided and accessories. One learns about cooks, strange dishes, wines, menu cards, and countless other matters. Athenaeus was an antiquarian. The whole work, which mentions nearly eight hundred writers and two thousand five hundred writings, is a large treasury of information not only about table matters but also music, dances, games, and all sorts of literary subjects. And it abounds in quotations, mostly made direct by Athenaeus himself, from authors whose writings have not survived.
The Loeb Classical Library edition of The Deipnosophists is in seven volumes. There is a comprehensive index in the final volume.
Athenaeus (ca. 170ca. 230 CE), a Greek of Naucratis in Egypt, lived in Rome and wrote a historical work now lost. Of the fifteen books of his surviving Deipnosophists ('Sophists at Dinner'), the first two and parts of the third, eleventh, and fifteenth exist only in summary, the rest apparently complete. In it he pretends to tell a friend about a banquet at a scholar's house whither the learned guests brought extracts from poetry for recitation and discussion. Much of the matter however concerns the food provided and accessories. One learns about cooks, strange dishes, wines, menu cards, and countless other matters. Athenaeus was an antiquarian. The whole work, which mentions nearly eight hundred writers and two thousand five hundred writings, is a large treasury of information not only about table matters but also music, dances, games, and all sorts of literary subjects. And it abounds in quotations, mostly made direct by Athenaeus himself, from authors whose writings have not survived.
The Loeb Classical Library edition of The Deipnosophists is in seven volumes. There is a comprehensive index in the final volume.
Athenaeus (ca. 170ca. 230 CE), a Greek of Naucratis in Egypt, lived in Rome and wrote a historical work now lost. Of the fifteen books of his surviving Deipnosophists ('Sophists at Dinner'), the first two and parts of the third, eleventh, and fifteenth exist only in summary, the rest apparently complete. In it he pretends to tell a friend about a banquet at a scholar's house whither the learned guests brought extracts from poetry for recitation and discussion. Much of the matter however concerns the food provided and accessories. One learns about cooks, strange dishes, wines, menu cards, and countless other matters. Athenaeus was an antiquarian. The whole work, which mentions nearly eight hundred writers and two thousand five hundred writings, is a large treasury of information not only about table matters but also music, dances, games, and all sorts of literary subjects. And it abounds in quotations, mostly made direct by Athenaeus himself, from authors whose writings have not survived.
The Loeb Classical Library edition of The Deipnosophists is in seven volumes. There is a comprehensive index in the final volume.
Athenaeus (ca. 170ca. 230 CE), a Greek of Naucratis in Egypt, lived in Rome and wrote a historical work now lost. Of the fifteen books of his surviving Deipnosophists ('Sophists at Dinner'), the first two and parts of the third, eleventh, and fifteenth exist only in summary, the rest apparently complete. In it he pretends to tell a friend about a banquet at a scholar's house whither the learned guests brought extracts from poetry for recitation and discussion. Much of the matter however concerns the food provided and accessories. One learns about cooks, strange dishes, wines, menu cards, and countless other matters. Athenaeus was an antiquarian. The whole work, which mentions nearly eight hundred writers and two thousand five hundred writings, is a large treasury of information not only about table matters but also music, dances, games, and all sorts of literary subjects. And it abounds in quotations, mostly made direct by Athenaeus himself, from authors whose writings have not survived.
The Loeb Classical Library edition of The Deipnosophists is in seven volumes. There is a comprehensive index in the final volume.
W. T. Lhamon 's Deliberate Speed is a cultural history of the 1950s in the United States that directly confronts the typical view of this decade as an arid wasteland. By surveying the artistic terrain of the period--examining works by figures as varied as Miles Davis, Ralph Ellison, Robert Frank, Allen Ginsberg, Little Richard, Charlie Parker, Jackson Pollock, Thomas Pynchon, and Ludwig Wittgenstein--Lhamon demonstrates how many of the distinctive elements that so many attribute to the revolutionary period of the 1960s had their roots in the fertile soil of the 1950s.
Taking his title from Chief Justice Earl Warren's desegregation decree of 1955, Lhamon shows how this phrase, "deliberate speed," resonates throughout the culture of the entire decade. The 1950s was a period of transition--a time when the United States began its shift from an industrial society to a postindustrial society, and the era when the first barriers between African-American culture and white culture began to come down.
Deliberate Speed is the story of a nation and a culture making the rapid transition to the increasingly complex world that we inhabit today.
In the decades following World War II, the creation and expansion of massive domestic markets and relatively stable economies allowed for mass consumption on an unprecedented scale, giving rise to the consumer society that exists today. Many avant-garde artists explored the nexus between consumption and aesthetics, questioning how consumerism affects how we perceive the world, place ourselves in it, and make sense of it via perception and emotion.
Delirious Consumption focuses on the two largest cultural economies in Latin America, Mexico and Brazil, and analyzes how their artists and writers both embraced and resisted the spirit of development and progress that defines the consumer moment in late capitalism. Sergio Delgado Moya looks specifically at the work of David Alfaro Siqueiros, the Brazilian concrete poets, Octavio Paz, and Lygia Clark to determine how each of them arrived at forms of aesthetic production balanced between high modernism and consumer culture. He finds in their works a provocative positioning vis-à-vis urban commodity capitalism, an ambivalent position that takes an assured but flexible stance against commodification, alienation, and the politics of domination and inequality that defines market economies. In Delgado Moya’s view, these poets and artists appeal to uselessness, nonutility, and noncommunication—all markers of the aesthetic—while drawing on the terms proper to a world of consumption and consumer culture.
The influential literary critic David Palumbo-Liu suggests that we can arrive at a sense of responsibility toward others by reconsidering the discourses of sameness that deliver those unlike ourselves to us. Through virtuoso readings of novels by J. M. Coetzee, Nadine Gordimer, Kazuo Ishiguro, and Ruth Ozeki, he shows how notions that would seem to offer some basis for commensurability between ourselves and others—ideas of rationality, the family, the body, and affect—become less stable as they try to accommodate more radical types of otherness. For Palumbo-Liu, the reading of literature is an ethical act, a way of thinking through our relations to others.
The first work to combine literary criticism with other forms of death penalty–abolitionist writing, Demands of the Dead demonstrates the active importance of literature and literary criticism to the struggle for greater justice in the United States. Gathering personal essays, scholarly articles, and creative writings on the death penalty in American culture, this striking collection brings human voices and literary perspectives to a subject that is often overburdened by statistics and angry polemics. Contributors include death-row prisoners, playwrights, poets, activists, and literary scholars.
Highlighting collaborations between writers inside and outside prison, all within the context of the history of state killing laws and foundational concepts that perpetuate a culture of violent death, Demands of the Dead opens with a pamphlet dictated by Willie Francis, a teenager who survived a first execution attempt in Louisiana’s electric chair before he was subsequently killed by the state in 1947.
Writers are a conspicuous part of U.S. death-penalty history, composing a vibrant literary record of resistance to state killing. This multigenre collection both recalls and contributes to this tradition through discussions of such writers as Walt Whitman, Herman Melville, Gertrude Atherton, Ernest Gaines, Sonia Sanchez, Kia Corthron, and Sherman Alexie. A major contribution to literary studies and American prison studies, Demands of the Dead asserts the relevance of storytelling to ethical questions and matters of public policy.
Histories of remote islands around Japan are usually told through the prism of territorial disputes. In contrast, Takahiro Yamamoto contends that the transformation of the islands from ambiguous border zones to a territorialized space emerged out of multilateral power relations. Sakhalin, the Kuril Islands, Tsushima, the Bonin Islands, and the Ryukyu Islands became the subject of inter-imperial negotiations during the formative years of modern Japan as empires nudged each other to secure their status with minimal costs rather than fighting a territorial scramble. Based on multiarchival, multilingual research, Demarcating Japan argues that the transformation of border islands should be understood as an interconnected process, where inter-local referencing played a key role in the outcome: Japan’s geographical expansion in the face of domineering Extra-Asian empires.
Underneath this multilateral process were the connections forged by individuals. Translators, doctors, traffickers, castaways, and indigenous hunters crisscrossed border regions and enacted violence, exchanged knowledge, and forged friendships. Although their motivations were eclectic and their interactions transcended national borders, the linkages they created were essential in driving territorialization forward. Demarcating Japan demonstrates the crucial role of nonstate actors in formulating a territory.
Demarcating the Disciplines was first published in 1986. 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.
With publication of this volume, Glyph begins a new stage in its existence: the move from Johns Hopkins University Press to the University of Minnesota Press is accompanied by a change in focus. In its first incarnation Glyph provided a forum in which established notions of reading, writing, and criticism could be questioned and explored. Since then, the greater currency of such concerns has brought with it new problems and priorities. Setting aside the battles of the past, the new Glyph looks ahead - to confront historical issues and to address the institutional and pedagogical questions emerging from the contemporary critical landscape.
Each volume in the new Glyph series is organized around a specific issue. The essays in this first volume explore the relations between the practice of reading and writing and the operations of the institution. Though their approaches differ from one another, the authors of these essays all recognize that the questions of the institution - most notably the university - points toward a series of constraints that define, albeit negatively, the possibilities for change.
The contributors: Samuel Weber, Jacques Derrida, Tom Conley, Malcolm Evans, Ruth Salvaggio, Robert Young, Henry Sussman, Peter Middleton, David Punter, and Donald Preziosi.
Ancient scholarship had many faces, but most have faded away over time. Demetrios of Scepsis is one of the more shadowy of these lost figures, best known for his commentary on the Trojan Catalogue in Book 2 of the Iliad. Alexandra Trachsel’s work represents the first treatment dedicated to Demetrios of Scepsis in over a century. Because of the incomplete transmission of Demetrios’s work, Trachsel necessarily focuses on the way later readers understood the ancient author’s engagement with the Homeric text. Indeed, modern scholars have access to Demetrios’s analysis of the Trojan Catalogue only through their readings.
Trachsel’s work offers a thorough analysis of the ancient and modern reactions to Demetrios’s research into the Homeric text and the Trojan landscape, and it revisits the ongoing debate about the setting for Homer’s Trojan poem. Trachsel also provides new evidence about the impressively wide range of other topics Demetrios’s work may have contained.
In these two essays, one of America’s most honored writers fastens on the interrelation of American democracy and poetry and the concept of selfhood vital to each. “I really don’t want to make a noise like a pundit,” Mr. Warren declares, “What I do want to do is to return us—and myself most of all—to a scrutiny of our own experience of our own world.” Indeed, Democracy and Poetry offers one of the most pertinent and strongly personal meditations on our condition to have appeared in recent letters.
Our native “poetry,” that is, literature and art, in general, is a social document, is “diagnostic,” and has often been a corrosive criticism of our democracy, Mr. Warren argues. Persuasively, and movingly, he shows that all of “art” and all that goes into the making of democracy require a free and responsible self. Yet the American experience has been one of the decay of the notion of self. Our astounding success jeopardized what we promised to create—the free man. For a century and a half the conception of the self has been dwindling, separating itself from traditional values, moral identity, and a secure relation with community. Lonely heroes in a bankrupt civilization, then protest, despair, aimlessness, and violence, have marked our literature.
The anguish of Robert Penn Warren’s own poetic vision of art and democracy is soothed only by his belief that poetry—the making of art can nourish and at least do something toward the rescue of democracy; he shows how art can be- come a healer, can be “therapeutic.” In the face of disintegrative forces set loose in a business and technetronic society, it is poetry that affirms the notion of the self. It is a model of the organized self, an emblem of the struggle for the achieving self, and of the self in a community. More and more as our modern technetronic society races toward the abolition of the self, and diverges from a culture created to enhance the notion of selfhood, poetry becomes indispensable.
Compelling, resonant, memorable, Democracy and Poetry is a major testament not only to the vitality of poetry, but also to a faith in democracy.
After the publication of Salman Rushdie’s The Satanic Verses (1988), the poetics of incitement— found in texts originating in the West containing themes and representations of Islam hurtful to Muslims—became an accepted method of textual production in the West. Production of such texts intensified after the attacks of 9/11. Democratic Criticism: Poetics of Incitement and the Muslim Sacred by Masood Ashraf Raja urges a new mode of reading, one that permits Western readers to transcend local reading practices in order to, as best as one can, read from the point of view of the Other.
Raja argues that the lack of understanding of Muslim responses to the poetics of incitement in the West is the result of a lack of cross-cultural knowledge. He claims metropolitan universities often do not teach the proper social, historical, and religious context required for effectively reading these texts with any form of cultural knowledge. To remedy this, Raja offers and theorizes “democratic reading practices” and new ways for students to engage with texts. A genealogy of the Muslim Sacred is included, thereby giving readers the history and specific knowledge that constitutes an average Muslim reader of these texts, a subject who should be imagined and empathized with when those in the West read works of the poetics of incitement.
Democratic Criticism encourages Western readers to develop a deeper understanding of the meaning-making processes of the Islamic world while at the same time encouraging the Muslim readers to read representations of the Islamic world with a more expansive understanding. It will be a helpful tool in creating reading practices that allow both teachers and students of literature to transcend their mode of reading as universal and to read from the perspective of the Other, and allow readers to engage meaningfully with these texts. Students and scholars of world literature, history, and religious studies will find this book insightful and valuable.
In this prequel to his celebrated book From Counterculture to Cyberculture, Turner rewrites the history of postwar America, showing how in the 1940s and ’50s American liberalism offered a far more radical social vision than we now remember. Turner tracks the influential mid-century entwining of Bauhaus aesthetics with American social science and psychology. From the Museum of Modern Art in New York to the New Bauhaus in Chicago and Black Mountain College in North Carolina, Turner shows how some of the most well-known artists and intellectuals of the forties developed new models of media, new theories of interpersonal and international collaboration, and new visions of an open, tolerant, and democratic self in direct contrast to the repression and conformity associated with the fascist and communist movements. He then shows how their work shaped some of the most significant media events of the Cold War, including Edward Steichen’s Family of Man exhibition, the multimedia performances of John Cage, and, ultimately, the psychedelic Be-Ins of the sixties. Turner demonstrates that by the end of the 1950s this vision of the democratic self and the media built to promote it would actually become part of the mainstream, even shaping American propaganda efforts in Europe.
Overturning common misconceptions of these transformational years, The Democratic Surround shows just how much the artistic and social radicalism of the sixties owed to the liberal ideals of Cold War America, a democratic vision that still underlies our hopes for digital media today.
With Democratic Swarms, Page duBois revisits the role of Greek comedy in ancient politics, considering how it has been overlooked as a political medium by modern theorists and critics. Moving beyond the popular readings of ancient Greece through the lens of tragedy, she calls for a revitalized look at Greek comedy. Rather than revisiting the sufferings of Oedipus and his family or tragedy’s relationship to questions of sovereignty, this book calls for comedy—its laughter, its free speech, its wild swarming animal choruses, and its rebellious women—to inform another model of democracy.
Ancient comedy has been underplayed in the study of Greek drama. Yet, with the irrepressible energy of the comic swarm, it provides a unique perspective on everyday life, gender and sexuality, and the utopian politics of the classical period of Athenian democracy. Using the concepts of swarm intelligence and nomadic theory, duBois augments tragic thought with the resistant, utopian, libidinous, and often joyous communal legacy of comedy, and she connects the lively anti-authoritarianism of the ancient comic chorus with the social justice movements of today.
Demographic Angst argues that mandated normativity—as a political agenda and a social ethic—precluded explicit expression of the anxiety produced by America’s radically reconfigured postwar population. Alan Nadel explores influential non-fiction books, magazine articles, and public documents in conjunction with films such as Singin’ in the Rain, On the Waterfront, Sunset Boulevard, and Sayonara, to examine how these films worked through fresh anxieties that emerged during the 1950s.
Suzanne M. Waldman views well-known poems and artworks such as Christina Rossetti’s Goblin Market and Dante Gabriel Rossetti’s The Blessed Damozel and Venus Verticordia in new ways that expose their authors’ savvy anticipation of concepts that would come to be known as narcissism, fetishism, and the symbolic and imaginary orders, among many others. Waldman makes a strong case for the particular psychoanalytic importance of the Rossettis by looking at how the two Rossetti siblings’ own psyches were divided by conflicts between the period’s religious scruples and its taste for gothic sensationalism.
The Demon and the Damozel is a close and contextualized reading of their writings and artwork that displays, for the first time, continuity between the medieval cosmologies these Pre-Raphaelites drew upon and the psychoanalytic theories they looked ahead to—and locates the intricate patterns of proto-psychoanalytic understanding in the rich tapestry of Pre-Raphaelite aestheticism.
In this ambitious book, Kirk Wetters traces the genealogy of the demonic in German literature from its imbrications in Goethe to its varying legacies in the work of essential authors, both canonical and less well known, such as Gundolf, Spengler, Benjamin, Lukács, and Doderer. Wetters focuses especially on the philological and metaphorological resonances of the demonic from its core formations through its appropriations in the tumultuous twentieth century.
Propelled by equal parts theoretical and historical acumen, Wetters explores the ways in which the question of the demonic has been employed to multiple theoretical, literary, and historico-political ends. He thereby produces an intellectual history that will be consequential both to scholars of German literature and to comparatists.
This is the fourteenth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
This volume contains translations of all the surviving deliberative speeches of Demosthenes (plus two that are almost certainly not his, although they have been passed down as part of his corpus), as well as the text of a letter from Philip of Macedon to the Athenians. All of the speeches were purportedly written to be delivered to the Athenian assembly and are in fact almost the only examples in Attic oratory of the genre of deliberative oratory. In the Olynthiac and Philippic speeches, Demosthenes identifies the Macedonian king Philip as a major threat to Athens and urges direct action against him. The Philippic speeches later inspired the Roman orator Cicero in his own attacks against Mark Antony, and became one of Demosthenes' claims to fame throughout history.
2006 — Soeurette Diehl Fraser Award for Best Translation of a Book, Texas Institute of Letters
This is the ninth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity. The two speeches translated here grew out of his longtime rivalry with the orator Aeschines. In Speech 19 (On the Dishonest Embassy) delivered in 343 BC, Demosthenes attacks Aeschines for corruption centered around an ultimately disastrous embassy to Philip of Macedon that both men took part in. This speech made Demosthenes the leading politician in Athens for a time. Speech 18 (On the Crown or De Corona), delivered in 330 BC, is Demosthenes' most famous and influential oration. It resulted not only in Demosthenes receiving one of Athens' highest political honors but also in the defeat and disgrace of Aeschines, who retired from public life and left Athens forever.
This is the twelfth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity. This volume contains three important speeches from the earliest years of his political career: Against Leptines, a prosecution brought against a law repealing all exemptions from liturgies; Against Meidias, a prosecution for aggravated insult (hybris) brought against an influential politician; and Against Androtion, an indictment of a decree of honors for the Council of Athens. Edward M. Harris provides contemporary English translations of these speeches, two of which (Leptines and Androtion) have not been translated into English in over sixty years, along with introductions and extensive notes that take account of recent developments in Classical scholarship.
This is the fifteenth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today’s undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
This volume provides introductions, translations, and notes for four speeches found in the Demosthenic corpus that have not been translated in recent times. Against Aristocrates deals with matters of foreign policy involving a mercenary general, Charidemus, and is a valuable source for Athenian homicide law. Against Timocrates involves domestic politics and provides important information about Athenian procedures for enacting legislation. In both speeches, the litigants stress the importance of the rule of law in Athenian democracy and emphasize key ideas, such as the monopoly of legitimate force by the state, the need for consistency in statutes, and the principle of no punishment without a written law. The remaining two speeches, Against Aristogeiton, are forgeries composed in the Hellenistic period, as Edward Harris demonstrates conclusively through a study of laws and legal procedures and an analysis of style and vocabulary.
This is the eighth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity. This volume contains five speeches written for lawsuits in which Demosthenes sought to recover his inheritance, which he claimed was fraudulently misappropriated and squandered by the trustees of the estate. These speeches shed light on Athenian systems of inheritance, marriage, and dowry. The volume also contains seven speeches illustrating the legal procedure known as paragraphe, or "counter-indictment." Four of these are for lawsuits involving commercial shipping, a vital aspect of the Athenian economy that was crucial to maintaining the city's imported food supply. Another concerns the famous Athenian silver mines.
This is the thirteenth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity. This volume contains eleven law court speeches ascribed to Demosthenes, though modern scholars believe that only two or three of them are actually his. Most of the speeches here concern inheriting an estate, recovering debts owed to an estate, or exchanging someone else's estate for one's own. Adele Scafuro's supplementary material allows even non-specialists to follow the ins and outs of the legal arguments as she details what we know about the matters involved in each case, including marriage laws, adoptions, inheritances, and the financial obligations of the rich. While Athenian laws and family institutions (e.g., the marriages of heiresses) differ from ours in quite interesting ways, nevertheless the motives and strategies of the litigants often have a contemporary resonance.
This is the sixth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity; indeed, his very eminence may be responsible for the inclusion under his name of a number of speeches he almost certainly did not write. This volume contains four speeches that are most probably the work of Apollodorus, who is often known as "the Eleventh Attic Orator." Regardless of their authorship, however, this set of ten law court speeches gives a vivid sense of public and private life in fourth-century BC Athens. They tell of the friendships and quarrels of rural neighbors, of young men joined in raucous, intentionally shocking behavior, of families enduring great poverty, and of the intricate involvement of prostitutes in the lives of citizens. They also deal with the outfitting of warships, the grain trade, challenges to citizenship, and restrictions on the civic role of men in debt to the state.
This is the tenth volume in the Oratory of Classical Greece. This series presents all of the surviving speeches from the late fifth and fourth centuries BC in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.
Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, law and legal procedure, and other aspects of Athenian culture that have recently been attracting particular interest: women and family life, slavery, and religion, to name just a few.
Demosthenes is regarded as the greatest orator of classical antiquity. This volume contains his Funeral Oration (Speech 60) for those who died in the Battle of Chaeronea in 338 BC, in which Philip of Macedonia secured his dominance over Greece, as well as the so-called Erotic Essay (Speech 61), a rhetorical exercise in which the speaker eulogizes the youth Epicrates for his looks and physical prowess and encourages him to study philosophy in order to become a virtuous and morally upright citizen. The volume also includes fifty-six prologues (the openings to political speeches to the Athenian Assembly) and six letters apparently written during the orator's exile from Athens. Because so little literature survives from the 330s and 320s BC, these works provide valuable insights into Athenian culture and politics of that era.
Kenneth Rexroth called Denise Levertov (1923–1997) "the most subtly skillful poet of her generation, the most profound, . . . and the most moving." Author of twenty-four volumes of poetry, four books of essays, and several translations, Levertov became a lauded and honored poet. Born in England, she published her first book of poems at age twenty-three, but it was not until she married and came to the United States in 1948 that she found her poetic voice, helped by the likes of William Carlos Williams, Robert Duncan, and Robert Creeley. Shortly before her death in 1997, the woman who claimed no country as home was nominated to be America's poet laureate.
Levertov was the quintessential romantic. She wanted to live vividly, intensely, passionately, and on a grand scale. She wanted the persistence of Cézanne and the depth and generosity of Rilke. Once she acclimated herself to America, the dreamy lyric poetry of her early years gave way to the joy and wonder of ordinary life. By the late 1960s and early 1970s, however, her poems began to engage the issues of her times. Vehement and strident, her poetry of protest was both acclaimed and criticized. The end of both the Vietnam War and her marriage left her mentally fatigued and emotionally fragile, but gradually, over the span of a decade, she emerged with new energy. The crystalline and luminous poetry of her last years stands as final witness to a lifetime of searching for the mystery embedded in life itself. Through all the vagaries of life and art, her response was that of a "primary wonder."
In this illuminating biography, Dana Greene examines Levertov's interviews, essays, and self-revelatory poetry to discern the conflict and torment she both endured and created in her attempts to deal with her own psyche, her relationships with family, friends, lovers, colleagues, and the times in which she lived. Denise Levertov: A Poet's Life is the first complete biography of Levertov, a woman who claimed she did not want a biography, insisting that it was her work that she hoped would endure. And yet she confessed that her poetry in its various forms--lyric, political, natural, and religious--derived from her life experience. Although a substantial body of criticism has established Levertov as a major poet of the later twentieth century, this volume represents the first attempt to set her poetry within the framework of her often tumultuous life.
The volume opens with a substantial introduction in which Pheng Cheah and Suzanne Guerlac survey Derrida’s entire corpus and position his later work in relation to it. The remaining essays address the concerns that arise out of Derrida’s analysis of politics and the conditions of the political, such as the meaning and scope of democracy, the limits of sovereignty, the relationship between the ethical and the political, the nature of responsibility, the possibility for committed political action, the implications of deconstructive thought for non-Western politics, and the future of nationalism in an era of globalization and declining state sovereignty. The collection is framed by original contributions from Hélène Cixous and Judith Butler.
Contributors. Étienne Balibar, Geoffrey Bennington, Wendy Brown, Judith Butler, Pheng Cheah, Hélène Cixous, Rodolphe Gasché, Suzanne Guerlac, Marcel Hénaff, Martin Jay, Anne Norton, Jacques Rancière, Soraya Tlatli, Satoshi Ukai
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Desegregating Comics assembles a team of leading scholars to explore how debates about the representation of Blackness shaped both the production and reception of Golden Age comics. Some essays showcase rare titles like Negro Romance and consider the formal innovations introduced by Black comics creators like Matt Baker and Alvin Hollingsworth, while others examine the treatment of race in the work of such canonical cartoonists as George Herriman and Will Eisner. The collection also investigates how Black fans read and loved comics, but implored publishers to stop including hurtful stereotypes. As this book shows, Golden Age comics artists, writers, editors, distributors, and readers engaged in heated negotiations over how Blackness should be portrayed, and the outcomes of those debates continue to shape popular culture today.
The Sheik—E. M. Hull’s best-selling novel that became a wildly popular film starring Rudolph Valentino—kindled “sheik fever” across the Western world in the 1920s. A craze for all things romantically “Oriental” swept through fashion, film, and literature, spawning imitations and parodies without number. While that fervor has largely subsided, tales of passion between Western women and Arab men continue to enthrall readers of today’s mass-market romance novels. In this groundbreaking cultural history, Hsu-Ming Teo traces the literary lineage of these desert romances and historical bodice rippers from the twelfth to the twenty-first century and explores the gendered cultural and political purposes that they have served at various historical moments.
Drawing on “high” literature, erotica, and popular romance fiction and films, Teo examines the changing meanings of Orientalist tropes such as crusades and conversion, abduction by Barbary pirates, sexual slavery, the fear of renegades, the Oriental despot and his harem, the figure of the powerful Western concubine, and fantasies of escape from the harem. She analyzes the impact of imperialism, decolonization, sexual liberation, feminism, and American involvement in the Middle East on women’s Orientalist fiction. Teo suggests that the rise of female-authored romance novels dramatically transformed the nature of Orientalism because it feminized the discourse; made white women central as producers, consumers, and imagined actors; and revised, reversed, or collapsed the binaries inherent in traditional analyses of Orientalism.
Reading eight major contemporary authors through the lens of chaos theory, Conte offers new and original interpretations of works that have been the subject of much critical debate
Design and Debris discusses the relationship between order and disorder in the works of John Hawkes, Harry Mathews, John Barth, Gilbert Sorrentino, Robert Coover, Thomas Pynchon, Kathy Acker, and Don DeLillo. In analyzing their work, Joseph Conte brings to bear a unique approach adapted from scientific thought: chaos theory. His chief concern is illuminating those works whose narrative structures locate order hidden in disorder (whose authors Conte terms “proceduralists”), and those whose structures reflect the opposite, disorder emerging from states of order (whose authors Conte calls “disruptors”).Documenting the paradigm shift from modernism, in which artists attempted to impose order on a disordered world, to postmodernism, in which the artist portrays the process of “orderly disorder,” Conte shows how the shift has led to postmodern artists' embrace of science in their treatment of complex ideas. Detailing how chaos theory interpenetrates disciplines as varied as economics, politics, biology, and cognitive science, he suggests a second paradigm shift: from modernist specialization to postmodern pluralism. In such a pluralistic world, the novel is freed from the purely literary and engages in a greater degree of interactivity-between literature and science, and between author and reader. Thus, Conte concludes, contemporary literature is a literature of flux and flexibility.
In this study of desire in Late Imperial China, Martin W. Huang argues that the development of traditional Chinese fiction as a narrative genre was closely related to changes in conceptions of the fundamental nature of desire. He further suggests that the rise of vernacular fiction during the late Ming dynasty should be studied in the context of contemporary debates on desire, along with the new and complex views that emerged from those debates.
Desire and Fictional Narrative in Late Imperial China shows that the obsession of authors with individual desire is an essential quality that defines traditional Chinese fiction as a narrative genre. Thus the maturation of the genre can best be appreciated in terms of its increasingly sophisticated exploration of the phenomenon of desire.
Desire in the Canterbury Tales coordinates the compulsions of desire with the act of misreading to define the driving force of Chaucer’s story collection. With Chaucer’s competitive pilgrimage as an important point of departure, this study examines the collection’s manner of generating stories out of division, difference, and contestation. It argues that Chaucer’s tales are produced as misreadings and misrecognitions of each other. Looking to the main predicate of the General Prologue’s famous opening sentence (“longen”) as well as the thematic concerns of a number of tale-tellers, and working with a theoretical model that exposes language as the product of such longing, Scala posits desire as the very subject of the Canterbury Tales and misrecognition as its productive effect. In chapters focusing on both the well-discussed tales of fragment 1 and the marriage group as well as the more recalcitrant religious stories, Desire in the Canterbury Tales offers a comprehensive means of accounting for Chaucer’s poem.
Throughout his life, John Donne was well acquainted with the consequences of desire. He wanted a courtly career badly enough to renounce the Catholicism of his childhood. Later, he wanted a woman badly enough to gamble that career for her sake; he lost, but found a new calling in the Anglican Church. There he pursued philosophical and theological questions with an intensity to match his former social ambitions, and was not above addressing God Himself in tones of "immoderate desire." Death became his ultimate object of passionate attention; and ever since that final consummation, critics have argued over the nature and import of Donne's desires, while simultaneously (if not always self-consciously) revealing a great deal about their own.
Saunders explores this dialectic of desire, re-evaluating both Donne's poetry and the complex responses it has inspired, from his earliest readers to his recent professional critics. In the process, Saunders considers an extraordinary range of topics, including the technology of the book, prosodic theory, the problem of misogyny, the history of sexuality, and even the purpose of criticism itself; remarkably, he does so while keeping Donne's poetry in focus at all times.
Witty, erudite, theoretically engaged, but intensely readable, this study takes into account recent developments in the fields of historicism, feminism, queer theory, and postmodern psychoanalysis, while offering dazzling close readings of many of Donne's most famous poems.
Desiring Rome expands upon recent recognition of the Fasti’s centrality to early imperial politics by situating the poem’s “failure” within broader negotiations of identity between early imperial citizen-subjects and the cultural ideology of Roman manhood.
“How do I love thee? Let me count the ways,” wrote Elizabeth Barrett Browning in her Sonnets from the Portuguese.Desiring Voices: Women Sonneteers and Petrarchism proposes that we attend to the ways that women poets from the sixteenth through the twentieth centuries have both echoed and transformed the literary and erotic conventions that strongly influenced their fates as women, wives, and lovers.
Mary B. Moore analyzes and provides context for love sonnet sequences by Italian, French, English, and American women poets in the light of current knowledge concerning attitudes towards women at the time they wrote. Through close readings of the poems combined with theory and criticism about constructs of women, historical events, and biographical contexts, Moore reveals patterns of revision among women poets that shed further light on the poets themselves, on Petrarchism as a convention, and on ideas about women. She focuses on Petrarchan sonnet sequences by women because the poems serve both as works of art and as documents that illuminate the range and limitations of female roles as erotic subjects (agents of speech, action, knowledge, and desire) as well as their more usual roles as erotic objects.
Combining theory with close reading, Moore enhances the value of many generally neglected poems by women. After a thorough discussion of the Petrarchan sonnet tradition, she analyzes the work of Gaspara Stampa, Louise Labé, Lady Mary Wroth, Charlotte Smith, Elizabeth Barrett Browning, and Edna St. Vincent Millay.
Killed by kindness, stifled by overprotection, choked by subtle if sometimes unconscious snubs, the physically handicapped are one of the world's most invisible minorities. Seeking to draw attention to the various attitudes and perceptions about the handicapped, renowned poet Vassar Miller has assembled this collection of short stories and poems culled from the best of contemporary literature.
The forty-five works focus on characters with motor and/or sensory disabilities. Ranging from optimistic to embittered and from sentimental to realistic, they portray the handicapped and the family; the handicapped and society; the myth of the holy idiot; the handicapped as human being, good, evil, and indifferent; the handicapped as unique. Both instructional and entertaining, this book will be of interest to a wide variety of readers, including the handicapped themselves. It will be especially helpful to professionals in the medical, education, and social service fields. As Vassar Miller says in her introduction, "... the book is meant as a midwife in bringing to birth a renewed understanding of all human beings as so many mirrors of God, however seemingly distorted ..."
In readings of Godwin's Caleb Williams, Poe's Dupin stories, Dickens's Bleak House, Collins's The Moonstone, and Doyle's The Hound of the Baskervilles, Thoms argues that the detective's figurative writing emerges out of a desire to exert control over others and sometimes over himself.
Detection and Its Designs demonstrates that, far from being a naïve form, early detective fiction grapples with the medium of storytelling itself. To pursue these inward-turning fictions is to uncover the detective's motives of controlling the representation of both himself and others, a discovery that in turn significantly undermines the authority of his solutions.
In Detective Fiction and the Rise of the Japanese Novel, Satoru Saito sheds light on the deep structural and conceptual similarities between detective fiction and the novel in prewar Japan. Arguing that the interactions between the two genres were not marginal occurrences but instead critical moments of literary engagement, Saito demonstrates how detective fiction provided Japanese authors with the necessary frameworks through which to examine and critique the nature and implications of Japan’s literary formations and its modernizing society.
Through a series of close readings of literary texts by canonical writers of Japanese literature and detective fiction, including Tsubouchi Shoyo, Natsume Soseki, Shimazaki Toson, Sato Haruo, Kuroiwa Ruiko, and Edogawa Ranpo, Saito explores how the detective story functioned to mediate the tenuous relationships between literature and society as well as between subject and authority that made literary texts significant as political acts. By foregrounding the often implicit and contradictory strategies of literary texts—choice of narrative forms, symbolic mappings, and intertextual evocations among others—this study examines in detail the intricate interactions between detective fiction and the novel that shaped the development of modern Japanese literature.
Tracing the growth of ancient biography from the fifth century to the first century B.C., Arnaldo Momigliano asks fruitful questions about the origins and development of Greek biography. By clarifying the social and intellectual implications of the fact that the Greeks kept biography and autobiography distinct from historiography, he contributes to an understanding of a basic dichotomy in the Western tradition of historical writing. The Development of Greek Biography is fully annotated, and includes a bibliography designed to serve as an introduction to the study of biography in general.
This classic study is now reissued with the addition of Momigliano’s essay “Second Thoughts on Greek Biography” (1971).
In 1992 Deng Xiaoping famously declared, “Development is the only hard imperative.” What ensued was the transformation of China from a socialist state to a capitalist market economy. The spirit of development has since become the prevailing creed of the People’s Republic, helping to bring about unprecedented modern prosperity, but also creating new forms of poverty, staggering social upheaval, physical dislocation, and environmental destruction.
In Developmental Fairy Tales, Andrew F. Jones asserts that the groundwork for this recent transformation was laid in the late nineteenth century, with the translation of the evolutionary works of Lamarck, Darwin, and Spencer into Chinese letters. He traces the ways that the evolutionary narrative itself evolved into a form of vernacular knowledge which dissolved the boundaries between beast and man and reframed childhood development as a recapitulation of civilizational ascent, through which a beleaguered China might struggle for existence and claim a place in the modern world-system.
This narrative left an indelible imprint on China’s literature and popular media, from children’s primers to print culture, from fairy tales to filmmaking. Jones’s analysis offers an innovative and interdisciplinary angle of vision on China’s cultural evolution. He focuses especially on China’s foremost modern writer and public intellectual, Lu Xun, in whose work the fierce contradictions of his generation’s developmentalist aspirations became the stuff of pedagogical parable. Developmental Fairy Tales revises our understanding of literature’s role in the making of modern China by revising our understanding of developmentalism’s role in modern Chinese literature.
"An outstanding combination of literary interpretation and cultural and historical context that will be an important addition to the critical literature on Hawthorne."
---Nina Baym, University of Illinois
"It is difficult to imagine a more timely book than Devils and Rebels. Examining the role of the public intellectual and writer during a time of political conflict and war, Reynolds takes up his charges with great precision and historical finesse. What particularly distinguishes this book is its attention to the ways in which one of this country's most important authors struggled to resist the waves of political extremism and patriotic hysteria that swept around him."
---Jeffrey Steele, University of Wisconsin—Madison
Widely condemned even in his own time, Nathaniel Hawthorne's views on abolitionism and slavery are today frequently characterized by scholars as morally reprehensible. Devils and Rebels explores the historical and biographical record to reveal striking evidence of the author's true political values---values grounded in pacifism and resistant to the kind of binary thinking that could lead to violence and war.
The book offers fresh readings of not only Hawthorne's four major romances but also some of his less familiar works like "Legends of the Province House," The Whole History of Grandfather's Chair, Journal of an African Cruiser, The Life of Franklin Pierce, and "Septimius Felton." Reynolds argues that Hawthorne---whether in his politics or his art---drew upon racialized imagery from America's past revolution and war on witchcraft to create a politics of quiet imagination, alert to the ways in which New England righteousness could become totalitarian by imposing its narrow view of the world on others.
Meticulously researched and cogently argued, this groundbreaking work demonstrates the need to examine perspectives and values from beyond the New England region when studying the literary history of the American Renaissance and illuminates the difficulties faced by public intellectuals during times of political strife---an issue as relevant today as it was some one hundred and fifty years ago.
Larry J. Reynolds is Thomas Franklin Mayo Professor of Liberal Arts and Professor of English at Texas A&M University. His previous books include A Historical Guide to Nathaniel Hawthorne, National Imaginaries, American Identities: The Cultural Work of American Iconography, and European Revolutions and the American Literary Renaissance as well as an edition of the European writings of Margaret Fuller.
In fresh, often surprising readings of Dostoevsky's individual works, Leatherbarrow shows how such a "language" articulates a series of concerns linked to views expressed elsewhere—in Dostoevsky's journalism and letters—on the question of Russia's relationship to Western Europe. His study also explores the narrative and generic implications of the way Dostoevsky inscribes the demonic in his fictional works—implications that point to a new understanding of familiar concepts in the work of this Russian master. Highly original, deftly argued and written, Leatherbarrow's work offers Dostoevsky specialists and general readers alike an opportunity to rediscover and reassess the rich complexities of some of the world's greatest literature.
We are living in a time of radical uncertainty, faced with serious political, ecological, economic, epidemiological, and social problems. Scholars of religion Constance M. Furey, Sarah Hammerschlag, and Amy Hollywood come together in this volume with a shared conviction that what and how we read opens new ways of imagining our political futures and our lives.
Each essay in this book suggests different ways to characterize the object of devotion and the stance of the devout subject before it. Furey writes about devotion in terms of vivification, energy, and artifice; Hammerschlag in terms of commentary, mimicry, and fetishism; and Hollywood in terms of anarchy, antinomianism, and atopia. They are interested in literature not as providing models for ethical, political, or religious life, but as creating the site in which the possible—and the impossible—transport the reader, enabling new forms of thought, habits of mind, and ways of life. Ranging from German theologian Martin Luther to French-Jewish philosopher Sarah Kofman to American poet Susan Howe, this volume is not just a reflection on forms of devotion and their critical and creative import but also a powerful enactment of devotion itself.
Saldívar pursues this goal through an array of oppositional critical and creative practices. He analyzes a range of North American writers of color (Rolando Hinojosa, Gloria Anzaldúa, Arturo Islas, Ntozake Shange, and others) and Latin American authors (José Martí, Roberto Fernández Retamar, Gabriel García Márquez, and others), whose work forms a radical critique of the dominant culture, its politics, and its restrictive modes of expression. By doing so, Saldívar opens the traditional American canon to a dialog with other voices, not just the voices of national minorities, but those of regional cultures different from the prevalent anglocentric model.
The Dialectics of Our America, in its project to expand the “canon” and define a pan-American literary tradition, will make a critical difference in ongoing attempts to reconceptualize American literary history.
Morace analyzes the novels of Malcolm Bradbury and David Lodge together because they provide a dialogue of conflicting views, styles, and forms of the contemporary novel. This dialogue parallels the views of these two British novelists as critics.
Beginning as realists, as novelists of manners, as writers of campus novels, Bradbury and Lodge explore the possibilities and the limitations of realistic writing. Bradbury and Lodge, however, are not only heirs of English literary tradition. Both are also literary critics with a keen interest in recent critical theories. Morace shows us how the debate between Bradbury and Lodge over the nature and purpose of fiction and criticism has found its way into their novels. The realistic conflicts between civilian and military, English and American, pre- and post-Vatican II values gradually give way to an exploration of the semiotics behind such conflicts.
Morace finds Bradbury’s and Lodge’s works far more open-ended than the "doggedly indeterminate fictions" of many contemporary writers. Using Mikhail Bakhtin’s theory of dialogism, he identifies the ways in which language and values simultaneously compete with and support one another in their novels.
This first book-length study of Bradbury or Lodge deals with all of their novels, including Changing Places, How Far Can You Go?, and Small World by Lodge, as well as Bradbury’s The History of Man and Rates of Exchange.
Giovanni Pontano (1426–1503), whose academic name was Gioviano, was the most important Latin poet of the fifteenth century as well as a leading statesman who served as prime minister to the Aragonese kings of Naples. His Dialogues are our best source for the humanist academy of Naples which Pontano led for several decades. They provide a vivid picture of literary life in the capital of the Aragonese seaborne empire, based in southern Italy and the Western Mediterranean. This first volume contains the two earliest of Pontano’s five dialogues. Charon, set in the underworld of classical mythology, illustrates humanist attitudes to a wide range of topics, satirizing the follies and superstitions of humanity. Antonius, a Menippean satire named for the founder of the Neapolitan Academy, Antonio Beccadelli, is set in the Portico Antoniano in downtown Naples, where the academicians commemorate and emulate their recently-deceased leader, conversing on favorite topics and stopping from time to time to interrogate passersby.
This volume contains a freshly-edited Latin text of these dialogues and the first translation of them into English.
Giovanni Gioviano Pontano (1429–1503) served five kings of Naples as a courtier, official, and diplomat, and earned even greater fame as a scholar, prose author, and poet. His Dialogues reflect his diverse interests in religion, philosophy, and literature, as well as in everyday life in fifteenth-century Naples. They are especially important for their vivid picture of the contemporary gatherings of Pontano and his friends in the humanist academy over which he presided from around 1471 until shortly before his death.
Volume 2 includes the Actius, named for one of its principal speakers, the great Neo-Latin poet Jacopo Sannazaro, and contains a perceptive treatment of poetic rhythm, the first full treatment of the Latin hexameter in the history of philology. The dialogue continues with a discussion of style and method in history writing, a landmark in the history of historiography. This is a new critical edition of the Actius and the first translation of this dialogue into English.
Giovanni Gioviano Pontano (1429–1503) served five kings of Naples as a courtier, official, and diplomat, and earned even greater fame as a scholar, prose author, and poet. His Dialogues reflect his diverse interests in religion, philosophy, and literature, as well as in everyday life in fifteenth-century Naples. They are especially important for their vivid picture of the contemporary gatherings of Pontano and his friends in the humanist academy over which he presided from around 1471 until shortly before his death.
This volume completes the I Tatti edition of Pontano’s five surviving dialogues and features both Aegidius and Asinus. The conversation in Aegidius, named for the Augustinian theologian Giles of Viterbo, ranges over various topics, including creation, dreams, free will, the immortality of the soul, the relation between heaven and earth, language, astrology, and mysticism. The Asinus is less a dialogue than a fantastical autobiographical comedy in which Pontano himself is represented as having gone mad and fallen in love with an ass. This is the first translation of these dialogues into English.
Dialogues/Dialogi pairs stories by Tillie Olsen, Toni Cade Bambara, Jayne Anne Phillips, and Leslie Marmon Silko (reprinted here in full) with Russian stories by I. Grekova, Liudmila Petrushevskaya, Elena Makarova, and Anna Nerkagi, many of them appearing here for the first time in English. Exquisite in their stylistic and thematic variety, suggestive of the range of women's experience and fiction in both countries, each story is the subject of paired interpretive essays by an American and an (ex)Soviet critic from among the book's authors.
A colloquy of diverse voices speaking together in multiple, mutually illuminating exchanges, Dialogues/Dialogi testifies to the possibility of evolving relationships among women across borders once considered impassable.
Christians talked, debated, and wrote dialogues in late antiquity and on throughout Byzantium. Some were philosophical, others more literary, theological, or Platonic; Aristotle also came into the picture as time went on. Sometimes the written works claim to be records of actual public debates, and we know that many such debates did take place and continued to do so. Dialoguing in Late Antiquity takes up a challenge laid down by recent scholars who argue that a wall of silence came down in the fifth century AD, after which Christians did not “dialogue.”
Averil Cameron now returns to questions raised in her book Christianity and the Rhetoric of Empire (1991), drawing on the large repertoire of surviving Christian dialogue texts from late antiquity to make a forceful case for their centrality in Greek literature from the second century and the Second Sophistic onward. At the same time, Dialoguing in Late Antiquity points forward to the long and neglected history of dialogue in Byzantium. Throughout this study, Cameron engages with current literary approaches and is a powerful advocate for the greater integration of Christian texts by literary scholars and historians alike.
Diaphanous Bodies: Ability, Disability, and Modernist Irish Literature examines ability, as a category of embodiment and embodied experience, and in the process opens up a new area of inquiry in the growing field of literary disability studies. It argues that the construction of ability arises through a process of exclusion and forgetting, in which the depiction of sensory information and epistemological judgment subtly (or sometimes un-subtly) elide the fact of embodied subjectivity. The result is what Colangelo calls “the myth of the diaphanous abled body,” a fiction that holds that an abled body is one which does not participate in or situate experience. The diaphanous abled body underwrites the myth that abled and disabled constitute two distinct categories of being rather than points on a constantly shifting continuum.
In any system of marginalization, the dominant identity always sets itself up as epistemologically and experientially superior to whichever group it separates itself from. Indeed, the norm is always most powerful when it is understood as an empty category or a view from nowhere. Diaphanous Bodies explores the phantom body that underwrites the artificial dichotomy between abled and disabled, upon which the representation of embodied experience depends.
Nikolay Punin (1888-1953) was the most articulate Russian/Soviet art critic of the 1920s. He strongly advocated Constructivism, an avant-garde impulse that favored mechanomorphic abstraction and proclaimed a movement to bring art into the center of popular life. In the United States, he is perhaps best remembered for his love affair with Anna Akhmatova, one of the great poets of the twentieth century.
This volume presents the first English translation of ten diary notebooks that Punin wrote between 1915 and 1936, as well as selections from his earlier (1904-1910) and later (1941-1946) diaries and some thirty notes and letters relating to his affair with Anna Akhmatova. These materials offer a rare glimpse into the life of art and artists in Russia. They also present vivid scenes from the 1905 Revolution, World War I, the 1917 Revolutions, World War II, and Stalinist oppression through the reflections of a talented man, who, unlike many of his generation, lived to tell the tale.
Praise for Andrew Hudgins
"Hudgins . . . [is] one of the few poets of the American South who can be both solemn and sidesplitting in a single poem."
---Publishers Weekly
"Andrew Hudgins is a natural storyteller . . . The surface[s] of Hudgins's poems---their quirky economy, the sheer music of his prosody---are so right because he goes so deep."
---Washington Post
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
Andrew Hudgins's Diary of a Poem is an engaging collection of essays that offers pleasure and profit to its readers. The title essay discusses the author's amusing travails as he attempts to write an ode about intestines, while other pieces explore the poetry of James Agee, Donald Justice, Allen Tate, and other poets, as well as the musician Johnny Winter, who is the subject of a rollicking segment about rock 'n' roll. More seriously, Hudgins writes with lively good humor about his tomato garden, the unread books piled up precipitously around his bed, and the emotional problems that led to an embarrassingly intimate, yet funny encounter with his father-in-law.
Diary of a Poem is lively, charming, often humorous, and a pleasurable read for the general reader and the poetry specialist alike.
Author photo by Jo McCulty
This volume provides insight from leading scholars who have begun to reassess the significance of Massachusetts in the author's life and work. The collection begins with a broad biographical and historical overview taken from the full-length narrative of the award-winning exhibition Dickens and Massachusetts: A Tale of Power and Transformation, which attracted thousands of visitors while on display in Lowell. Abundant images from the exhibition, many of them difficult to find elsewhere, enhance the story of Dickens's relationship with the vibrant cultural and intellectual life of Massachusetts. The second section includes essays that consider the importance of Dickens's many connections to the commonwealth.
In addition to the volume editors, contributors include Chelsea Bray, Iain Crawford, Andre DeCuir, Natalie McKnight, Lillian Nayder, and Kit Polga.
Attitudes toward punishment and forgiveness in English society of the nineteenth century came, for the most part, out of Christianity. In actual experience the ideal was not often met, but in the literature of the time the model was important. For novelists attempting to tell exciting and dramatic stories, violent and criminal activities played an important role, and, according to convention, had to be corrected through poetic justice or human punishment. Both Dickens’ and Thackeray’s novels subscribed to the ideal, but dealt with the dilemma it presented in slightly different ways.
At a time when a great deal of attention has been directed toward economic production and consumption as the bases for value, Reed’s well-documented study reviving moral belief as a legitimate concern for the analysis of nineteenth-century English texts is particularly illuminating.
Harry Stone, an internationally recognized Dickens scholar, provides the reader with a full account of Dickens' methods of planning and working. In a comprehensive introduction and extensive notes, he uses Dickens' written plans to illuminate the thought and technique of the novels. He examines creative concerns, such as Dickens' process of naming and visualization, and technical matters, such as his use of various pen nibs, ink colors, and papers.
By making fully available and comprehensible Dickens' own cache of in-process plans, possibilities, and alternatives for shaping his novels, Dickens' Working Notes offers unparalleled insights into the novelist's art and into the nature of the creative imagination.
As Mangham shows, forensic medicine grew out of a perceived need to understand things with accuracy, leaning in part on the range of objectivities that inspired the inorganic sciences. At the same time, it had the burden of assisting the law in convicting the guilty and in exonerating the innocent. Practitioners of forensic medicine were uniquely mindful of unwanted variables such as human error and the vagaries of interpretation. In readings of Oliver Twist, Our Mutual Friend, Bleak House, The Pickwick Papers, Great Expectations, and Dickens’s early journalism, Mangham demonstrates that these questions about signification, perception, and reality are central to the stylistic complexities and playful tone often associated with Dickens. Moreover, the medico-legal context of Dickens’s fiction illuminates the richness and profundity, style and impact of Dicken’s narratives.
In five walks through central London, Peter Clark explores “The First Suburbs”—Camden Town, Chelsea, Greenwich, Hampstead, Highgate and Limehouse—as they feature in Dickens’s writing and illuminates the settings of Dickens’s life and his greatest works of journalism and fiction. Describing these storied spaces of today’s central London in intimate detail, Clark invites us to experience the city as it was known to Dickens and his characters. These walks take us through the locations and buildings that he interacted with and wrote about, creating an imaginative reconstruction of the Dickensian world that has been lost to time.
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