A SCHOLARLY BOOK REPOSITORY329 start with I start with I
A new approach to the vast nuclear infrastructure and the apocalypses it produces, focusing on Black, queer, Indigenous, and Asian American literatures
Since 1945, America has spent more resources on nuclear technology than any other national project. Although it requires a massive infrastructure that touches society on myriad levels, nuclear technology has typically been discussed in a limited, top-down fashion that clusters around powerful men. In Infrastructures of Apocalypse, Jessica Hurley turns this conventional wisdom on its head, offering a new approach that focuses on neglected authors and Black, queer, Indigenous, and Asian American perspectives.
Exchanging the usual white, male “nuclear canon” for authors that include James Baldwin, Leslie Marmon Silko, and Ruth Ozeki, Infrastructures of Apocalypse delivers a fresh literary history of post-1945 America that focuses on apocalypse from below. Here Hurley critiques the racialized urban spaces of civil defense and reads nuclear waste as a colonial weapon. Uniting these diverse lines of inquiry is Hurley’s belief that apocalyptic thinking is not the opposite of engagement but rather a productive way of imagining radically new forms of engagement.
Infrastructures of Apocalypse offers futurelessness as a place from which we can construct a livable world. It fills a blind spot in scholarship on American literature of the nuclear age, while also offering provocative, surprising new readings of such well-known works as Atlas Shrugged, Infinite Jest, and Angels in America. Infrastructures of Apocalypse is a revelation for readers interested in nuclear issues, decolonial literature, speculative fiction, and American studies.
The “infrathin” was Marcel Duchamp’s playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. “Eat” is not the same thing as “ate.” The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to “make it new.”
In her revisionist “micropoetics,” Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is “about,” does not do justice to its infrathin possibilities. From Goethe’s eight-line “Wanderer’s Night Song” to Eliot’s Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?
Nearly 60 years after his death, Mencken’s memory and monumental verbal legacy rest largely in the hands of literary scholars and historians, to whom he will always be a curious figure, unchecked and alien and not a little distasteful. No faculty would have voted him tenure. Hal Crowther, who followed in many of Mencken’s footsteps as a reporter, magazine editor, literary critic, and political columnist, focuses on Mencken the creator, the observer who turned his impressions and prejudices into an inimitable group portrait of America, painted in prose that charms and glowers and endures. Crowther, himself a working polemicist who was awarded the Baltimore Sun’s Mencken prize for truculent commentary, examines the origin of Mencken’s thunderbolts—where and how they were manufactured, rather than where and on whom they landed.
Mencken was such an outrageous original that contemporary writers have made him a political shuttlecock, defaming or defending him according to modern conventions he never encountered. Crowther argues that loving or hating him, admiring or despising him are scarcely relevant. Mencken can inspire and he can appall. The point is that he mattered, at one time enormously, and had a lasting effect on the national conversation. No writer can afford to ignore his craftsmanship or success, or fail to be fascinated by his strange mind and the world that produced it. This book is a tribute—though by no means a loving one—to a giant from one of his bastard sons.
In Inhuman Citizenship, Juliana Chang claims that literary representations of Asian American domesticity may be understood as symptoms of America’s relationship to its national fantasies and to the “jouissance”—a Lacanian term signifying a violent yet euphoric shattering of the self—that both overhangs and underlies those fantasies. In the national imaginary, according to Chang, racial subjects are often perceived as the source of jouissance, which they supposedly embody through their excesses of violence, sexuality, anger, and ecstasy—excesses that threaten to overwhelm the social order.
To examine her argument that racism ascribes too much, rather than a lack of, humanity, Chang analyzes domestic accounts by Asian American writers, including Fae Myenne Ng’s Bone, Brian Ascalon Roley’s American Son, Chang-rae Lee’s Native Speaker, and Suki Kim’s The Interpreter. Employing careful reading and Lacanian psychoanalysis, Chang finds sites of excess and shock: they are not just narratives of trauma; they produce trauma as well. They render Asian Americans as not only the objects but also the vehicles and agents of inhuman suffering. And, claims Chang, these novels disturb yet strangely exhilarate the reader through characters who are objects of racism and yet inhumanly enjoy their suffering and the suffering of others.
Through a detailed investigation of “family business” in works of Asian American life, Chang shows that by identifying with the nation’s psychic disturbance, Asian American characters ethically assume responsibility for a national unconscious that is all too often disclaimed.
Exploring the hidden treasures of otherwise forgotten authors while also acknowledging the Michigan-set stories of giants like Hemingway, Dave and Jack Dempsey delve into the state’s literary heritage, as robust, diverse, and inexhaustible as the natural beauty of the place that nurtured it. This second volume of “ink trails” continues to tell the story of the remarkable writers, powerful words, and sublime nature of Michigan in the same well-researched and entertaining prose as the first.
Long revered as the birthplace of many of the nation’s best-known authors, Michigan has also served as inspiration to countless others. In this entertaining and well-researched book—the first of its kind—the secrets, legends, and myths surrounding some of Michigan’s literary luminaries are explored. Which Michigan poet inspired a state law requiring teachers to assign at least one of his compositions to all students? Which young author emerged from the University of Michigan with a bestselling novel derided by some critics as “vulgar”? And from what Michigan city did Arthur Miller, Robert Frost, and Jane Kenyon draw vital inspiration? The answers to these questions and more are revealed in this rich literary history that highlights the diversity of those whose impact on letters has been indelible and distinctly Michiganian.
An Open Letters Review Best Book of the Year
“Grafton presents largely unfamiliar material…in a clear, even breezy style…Erudite.”
—Michael Dirda, Washington Post
In this celebration of bookmaking in all its messy and intricate detail, Anthony Grafton captures both the physical and mental labors that went into the golden age of the book—compiling notebooks, copying and correcting proofs, preparing copy—and shows us how scribes and scholars shaped influential treatises and forgeries.
Inky Fingers ranges widely, from the theological polemics of the early days of printing to the pathbreaking works of Jean Mabillon and Baruch Spinoza. Grafton draws new connections between humanistic traditions and intellectual innovations, textual learning and the delicate, arduous, error-riddled craft of making books. Through it all, he reminds us that the life of the mind depends on the work of the hands, and the nitty gritty labor of printmakers has had a profound impact on the history of ideas.
“Describes magnificent achievements, storms of controversy, and sometimes the pure devilment of scholars and printers…Captivating and often amusing.”
—Wall Street Journal
“Ideas, in this vivid telling, emerge not just from minds but from hands, not to mention the biceps that crank a press or heft a ream of paper.”
—New York Review of Books
“Grafton upends idealized understandings of early modern scholarship and blurs distinctions between the physical and mental labor that made the remarkable works of this period possible.”
—Christine Jacobson, Book Post
“Scholarship is a kind of heroism in Grafton’s account, his nine protagonists’ aching backs and tired eyes evidence of their valiant dedication to the pursuit of knowledge.”
—London Review of Books
The Meditations of Marcus Aurelius are treasured today—as they have been over the centuries—as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work’s style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy.
Written by the Roman emperor for his own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius’s guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was.
The soul, the guiding principle within us, is in Marcus Aurelius’s Stoic philosophy an inviolable stronghold of freedom, the “inner citadel.” This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader.
The only recent English-language work on Spanish-American indigenismo from a literary perspective, Estelle Tarica’s work shows how modern Mexican and Andean discourses about the relationship between Indians and non-Indians create a unique literary aesthetic that is instrumental in defining the experience of mestizo nationalism.
Engaging with narratives by Jesús Lara, José María Arguedas, and Rosario Castellanos, among other thinkers, Tarica explores the rhetorical and ideological aspects of interethnic affinity and connection. In her examination, she demonstrates that these connections posed a challenge to existing racial hierarchies in Spanish America by celebrating a new kind of national self at the same time that they contributed to new forms of subjection and discrimination.
Going beyond debates about the relative merits of indigenismo and mestizaje, Tarica puts forward a new perspective on indigenista literature and modern mestizo identities by revealing how these ideologies are symptomatic of the dilemmas of national subject formation. The Inner Life of Mestizo Nationalism offers insight into the contemporary resurgence and importance of indigenista discourses in Latin America.
Estelle Tarica is associate professor of Latin American literature and culture at the University of California, Berkeley.
In this book, Josiah Blackmore considers how the sea and seafaring shaped literary creativity in early modern Portugal during the most active, consequential decades of European overseas expansion. Blackmore understands “literary” in a broad sense, including a diverse archive spanning genres and disciplines—epic and lyric poetry, historical chronicles, nautical documents, ship logs, shipwreck narratives, geographic descriptions, and reference to texts of other seafaring powers and literatures of the period—centering on the great Luís de Camões, arguably the sea poet par excellence of early modern Europe.
Blackmore shows that the sea and nautical travel for Camões and his contemporaries were not merely historical realities; they were also principles of cultural creativity that connected to larger debates in the widening field of the maritime humanities. For Blackmore, the sea, ships, and nautical travel unfold into a variety of symbolic dimensions, and the oceans across the globe that were traversed in the fifteenth and sixteenth centuries correspond to vast reaches within the literary self. The sea and seafaring were not merely themes in textual culture but were also principles that created individual and collective subjects according to oceanic modes of perception. Blackmore concludes with a discussion of depth and sinking in shipwreck narratives as metaphoric and discursive dimensions of the maritime subject, foreshadowing empire’s decline.
Since 1988, J. Hillis Miller has traveled to China to lecture on literary theory, especially the role of globalization in literary theory. Over time, he has assisted in the development of distinctively Chinese forms of literary theory, Comparative Literature, and World Literature. The fifteen lectures gathered in An Innocent Abroad span both time and geographic location, reflecting his work at universities across China for more than twenty-five years. More important, they reflect the evolution of Miller’s thinking and of the lectures’ contexts in China as these have markedly changed over the years, especially on either side of Tiananmen Square and in light of China’s economic growth and technological change. A foreword by the leading theorist Fredric Jameson provides additional context.
Works prior to this book focused on Bede as not only a European, but also as an English scholar, historian, scientist, or a biographer of saints, and have used a traditional approach towards his explanation of the Bible. Bede's interpretation of his work, its continuous progress, and the reasons behind his hurried appointment to an authority almost as high as the Church Fathers are all topics examined within the text. Essays are by Roger Ray, Faith Wallis, Calvin B. Kendall, George Hardin Brown, Scott DeGregorio, Arthur G. Holder, Lawrence T. Martin, Walter Goffart, and Joyce Hill.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The New World Baroque combines indigenous, African, and European forms of expression, and, in the early decades of the twentieth century, Latin American writers began to recuperate its visual structures to construct an alternative account of modernity, using its hybrid forms for the purpose of creating a discourse of “counterconquest”—a postcolonial self-definition aimed at disrupting entrenched power structures, perceptual categories, and literary forms.
Zamora engages this process, discussing a wide range of visual forms—Baroque façades and altarpieces, portraits of saints and martyrs (including the self-portraits of Frida Kahlo), murals from indigenous artisans to Diego Rivera—to elucidate works of fiction by Borges, Carpentier, Lezama Lima, Sarduy, Garro, García Márquez, and Galeano, and also to establish a critical perspective external to their work. Because visual media are “other” to the verbal economy of modern fiction, they serve these writers (and their readers) as oblique means by which to position their fiction culturally, politically, and aesthetically.
The first study of its kind in scope and ambition, The Inordinate Eye departs radically from most studies of literature by demonstrating how transcultural conceptions of the visual image have conditioned present ways of seeing and reading in Latin America.
The Insatiability of Human Wants begins during a key transitional moment in aesthetic and economic theory, 1871, when both disciplines underwent a turn from production to consumption models. In economics, an emphasis on the theory of value and the social relations between land, labor, and capital gave way to more individualistic models of consumerism. Similarly, in aesthetics, theories of artistic production or creativity soon bowed to models of taste, pleasure, and reception.
Using these developments as a point of departure, Gagnier deftly traces the shift in Western thought from models of production to consumption. From its exploration of early market logic and Kantian thought to its look at the aestheticization of homelessness and our own market boom, The Insatiability of Human Wants invites us to contemplate alternative interpretations of economics, aesthetics, and history itself.
In Insect Poetics, the first book to comprehensively explore the cultural and textual meanings of bugs, editor Eric Brown argues that insects are humanity’s “other.” In order to be experienced, the insect world must be mediated by art or technology (as in the case of an ant farm or Kafka’s Metamorphoses) while humans observe, detached and fascinated.
In eighteen original essays, this book illuminates the ways in which our human intellectual and cultural models have been influenced by the natural history of insects. Through critical readings contributors address such topics as performing insects in Shakespeare’s Coriolanus, the cockroach in the contemporary American novel, the butterfly’s “voyage out” in Virginia Woolf, and images of insect eating in literature and popular culture. In surprising ways, contributors tease out the particularities of insects as cultural signifiers and propose ways of thinking about “insectivity,” suggesting fertile cross-pollinations between entomology and the arts, between insects and the humanities.
Contributors: May Berenbaum, Yves Cambefort, Marion W. Copeland, Nicky Coutts, Bertrand Gervais, Sarah Gordon, Cristopher Hollingsworth, Heather Johnson, Richard J. Leskosky, Tony McGowan, Erika Mae Olbricht, Marc Olivier, Roy Rosenstein, Rachel Sarsfield, Charlotte Sleigh, Andre Stipanovic.
Eric C. Brown is assistant professor of English at the University of Maine at Farmington. He has written previously about insects and eschatology in Edmund Spenser’s Muiopotmos.
Inside Tenement Time is the first comprehensive treatment of literary and cultural texts on surveillance in the Caribbean. Covering the long historical arc of the twentieth to the twenty-first centuries, Inside Tenement Time uses Jamaica as a case study to examine moments of crisis and particular spaces, especially urban yard enclaves and their environs, in the Caribbean encounter with surveillance. Making the argument that the Caribbean situation reveals flexible hegemonies rather than provinces of exclusive control, the book demonstrates the countervailing force of sussveillance and spiritveillance, Afro-Indigenous variations on surveillance. Sussveillance and spiritveillance are exemplars of vernacular arts and sciences that operate at and within the frangible borders of state power, exposing the unique dynamics of surveillance in the region and marshalling the acts of imagination with which it contends. For example, the Smile Jamaica concert of 1976, headlined by reggae Superstar Bob Marley, and the reputedly US government-backed 2010 Tivoli Gardens incursion in West Kingston, both moments that have dramatic, even mythic residue in Caribbean and global memory, are among the real-life events brought into conversation with literary representations of this history.
At the beginning of this century, Remy de Gourmont was the embodiment of the literary avant-garde, not only for urbane European writers but for “American imbeciles,” in Ezra Pound's term. As this book shows, Pound himself was one of the many young artists who learned from him. Gourmont was a brilliant teacher, and the breadth of his imagination and the scope of his interests had a special impact on Pound, whose “provincial” mind was moving in the same ways but without the so-called civilized places to go.
Instead of elaborately tracing influences or sources, Sieburth juxtaposes various aspects of Gourmont's and Pound's works in order to arrive at a better understanding of their individual achievements as “instigators.” In doing so, he reveals unexplored dimensions of Pound's development—from his early reading of vers fibre to his discovery, through Gourmont, of the French Enlightenment. Pound emerges as a modern-day philosophe, and Sieburth's reevaluation casts new light on Pound's complex political ideas and on difficult areas of the late Cantos.
The Institutions of Russian Modernism illuminates the key role of Symbolism as the earliest form of modernism in Russia, emerging seemingly ex nihilo at the end of the nineteenth century. Combining book history, periodical studies, and reception theory, Jonathan Stone examines the poetry and theory of Russian Symbolism within the framework of the institutions that organized, published, and disseminated the works to Russian readers. Surveying a wealth of examples of books, journals, and almanacs, Stone traces how publishers of Symbolist works marketed the movement and fashioned a Symbolist reader. His persuasive argument that after its eclipse Symbolism's legacy remained embedded in the heart of Russian modernism will be of interest to scholars and general readers.
Taking as his point of departure Norbert Weiner’s statement that information is basic to understanding materialism in our era, Ronald Schleifer shows how discoveries of modern physics have altered conceptions of matter and energy and the ways in which both information theory and the study of literature can enrich these conceptions. Expanding the reductive notion of “the material” as simply matter and energy, he formulates a new, more inclusive idea of materialism.
Schleifer’s project attempts to bridge the divisions between the humanities and the sciences and to create a nonreductive materialism for the information age. He presents a materialistic account of human bodily experience by delving into language and literature that powerfully represents our faces, voices, hands, and pain. For example, he examines the material resources of poetic “literariness” as it is revealed in the condition of Tourette’s syndrome. Schleifer also investigates gestures of the hand in the formation of sociality, and he studies pain as both a physiological and phenomenological experience.
This ambitious work explores physiological analyses, evolutionary explanations, and semiotic descriptions of materialism to reveal how aspects of physical existence discover meaning in experience.
David Bromwich’s portrait of statesman Edmund Burke (1730–1797) is the first biography to attend to the complexity of Burke’s thought as it emerges in both the major writings and private correspondence. The public and private writings cannot be easily dissociated, nor should they be. For Burke—a thinker, writer, and politician—the principles of politics were merely those of morality enlarged. Bromwich reads Burke’s career as an imperfect attempt to organize an honorable life in the dense medium he knew politics to be.
This intellectual biography examines the first three decades of Burke’s professional life. His protest against the cruelties of English society and his criticism of all unchecked power laid the groundwork for his later attacks on abuses of government in India, Ireland, and France. Bromwich allows us to see the youthful skeptic, wary of a social contract based on “nature”; the theorist of love and fear in relation to “the sublime and beautiful”; the advocate of civil liberty, even in the face of civil disorder; the architect of economic reform; and the agitator for peace with America. However multiple and various Burke’s campaigns, a single-mindedness of commitment always drove him.
Burke is commonly seen as the father of modern conservatism. Bromwich reveals the matter to be far more subtle and interesting. Burke was a defender of the rights of disfranchised minorities and an opponent of militarism. His politics diverge from those of any modern party, but all parties would be wiser for acquaintance with his writing and thoughts.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.
In the late eighteenth century and early nineteenth, as discourses of interiority gained prominence, so did powerful counter-narratives. Castiglia reveals the flamboyant pages of antebellum popular fiction to be an archive of unruly democratic aspirations. Through close readings of works by Maria Monk and George Lippard, Walt Whitman and Timothy Shay Arthur, Hannah Webster Foster and Hannah Crafts, and Nathaniel Hawthorne and Herman Melville, Castiglia highlights a refusal to be reformed or self-contained. In antebellum authors’ representations of nervousness, desire, appetite, fantasy, and imagination, he finds democratic strivings that refused to disappear. Taking inspiration from those writers and turning to the present, Castiglia advocates a humanism-without-humans that, denied the adjudicative power of interiority, promises to release democracy from its inner life and to return it to the public sphere where U.S. citizens may yet create unprecedented possibilities for social action.
"A refreshingly welcome approach to this intriguing topic. . . . [Bjorklund's] extensive and systematic approach to her source material is impressive and enriches our understanding of this essential subject."—Virginia Quarterly Review
"Bjorklund studies both famous and obscure writers, and her clear prose style and copious quotations provide insight into the many aspects of the changing American self." —Library Journal
In Interruptions: The Fragmentary Aesthetic in Modern Literature, Gerald L. Bruns explores the effects of parataxis, or fragmentary writing as a device in modern literature. Bruns focuses on texts that refuse to follow the traditional logic of sequential narrative. He explores numerous examples of self-interrupting composition, starting with Friedrich Schlegel's inaugural theory and practice of the fragment as an assertion of the autonomy of words, and their freedom from rule-governed hierarchies.
Bruns opens the book with a short history of the fragment as a distinctive feature of literary modernism in works from Gertrude Stein to Paul Celan to present-day authors. The study progresses to the later work of Maurice Blanchot and Samuel Beckett, and argues, controversially, that Blanchot's writings on the fragment during the 1950s and early 1960s helped to inspire Beckett’s turn toward paratactic prose.
The study also extends to works of poetry, examining the radically paratactic arrangements of two contemporary British poets, J. H. Prynne and John Wilkinson, focusing chiefly on their most recent, and arguably most abstruse, works. Bruns also offers a close study of the poetry and poetics of Charles Bernstein.
Interruptions concludes with two chapters about James Joyce. First, Bruns tackles the language of Finnegans Wake, namely the break-up of words themselves, its reassembly into puns, neologisms, nonsense, and even random strings of letters. Second, Bruns highlights the experience of mirrors in Joyce’s fiction, particularly in Dubliners, Portrait of the Artist as a Young Man, and Ulysses, where mirrored reflections invariably serve as interruptions, discontinuities, or metaphorical displacements and proliferations of self-identity.
Reading various works by U.S. expatriates Ezra Pound and Gertrude Stein, Parry compares the cultural politics of U.S. canonical modernism with alternative representations of temporality, hybridity, erasure, and sexuality in the work of the Taiwanese writers Yü Kwang-chung and Hsia Yü and the Asian American immigrant author Theresa Hak Kyung Cha. Juxtaposing poems by Pound and Yü Kwang-chung, Parry shows how Yü’s fragmented, ambivalent modernist form reveals the effects of neocolonialism while Pound denies and obscures U.S. imperialism in Asia, asserting a form of nondevelopmental universalism through both form and theme. Stein appropriates discourses of American modernity and identity to represent nonnormative desire and sexuality, and Parry contrasts this tendency with representations of sexuality in the contemporary experimental poetry of Hsia Yü. Finally, Parry highlights the different uses of modernist forms by Pound in his Cantos—which incorporate a multiplicity of decontextualized and ahistorical voices—and by Cha in her 1982 novel Dictee, a historicized, multilingual work. Parry’s sophisticated readings provide a useful critical framework for apprehending how “minor modernisms” illuminate the histories erased by certain canonical modernist texts.
“This book offers a valuable account of literary activity in a genre still inadequately covered in literary-critical history. Emily Witt- man organizes her material through pairings and contextualizing that are instructive and illuminating and often exciting . . . This is comparative literature at its best.” —Vincent Sherry, Washington University
In pursuit of new forms of intimacy they take up a range of concerns across a variety of contexts. To test the hypothesis that the essence of the analytic exchange is intimate talk without sex, they compare Patrice Leconte’s film about an accountant mistaken for a psychoanalyst, Intimate Strangers, with Henry James’s classic novella The Beast in the Jungle. A discussion of the radical practice of barebacking—unprotected anal sex between gay men—delineates an intimacy that rejects the personal. Even serial killer Jeffrey Dahmer and the Bush administration’s war on terror enter the scene as the conversation turns to the way aggression thrills and gratifies the ego. Finally, in a reading of Socrates’ theory of love from Plato’s Phaedrus, Bersani and Phillips call for a new form of intimacy which they term “impersonal narcissism”: a divestiture of the ego and a recognition of one’s non-psychological potential self in others. This revolutionary way of relating to the world, they contend, could lead to a new human freedom by mitigating the horrifying violence we blithely accept as part of human nature.
Charmingly persuasive and daringly provocative, Intimacies is a rare opportunity to listen in on two brilliant thinkers as they explore new ways of thinking about the human psyche.
The Intimacy of Paper in Early and Nineteenth-Century American Literature reveals that book history and literary studies are mutually constitutive and proposes a new literary periodization based on materiality and paper production. In unpacking this history and connecting it to cultural and literary representations, Senchyne also explores how the textuality of paper has been used to make social and political claims about gender, labor, and race.
Exchanges of women between men occur regularly in Greek tragedy—and almost always with catastrophic results. Instead of cementing bonds between men, such exchanges rend them. They allow women, who should be silent objects, to become monstrous subjects, while men often end up as lifeless corpses. But why do the tragedies always represent the transferal of women as disastrous?
Victoria Wohl offers an illuminating analysis of the exchange of women in Sophocles' Trachiniae, Aeschylus' Agamemnon, and Euripides' Alcestis. She shows how the attempts of women in these plays to become active subjects rather than passive objects of exchange inevitably fail. While these failures seem to validate male hegemony, the women's actions, however futile, blur the distinction between male subject and female object, calling into question the very nature of the tragic self. What the tragedies thus present, Wohl asserts, is not only an affirmation of Athens' reigning ideologies (including its gender hierarchy) but also the possibility of resistance to them and the imagination of alternatives.
Grounded in feminism and connected to the race, class, and gender paradigms in cultural studies, the twenty-six contributors to this volume—including Jane Tompkins, Henry Louis Gates, Jr., Shirley Nelson Garner, and Shirley Goek-Lin Lim—respond in new, refreshing ways to literary subjects ranging from Homer to Freud, Middlemarch to The Woman Warrior, Shiva Naipaul to Frederick Douglass. Revealing the beliefs and formative life experiences that inform their essays, these writers characteristically recount the process by which their opinions took shape--a process as conducive to self-discovery as it is to critical insight. The result—which has been referred to as "personal writing," "experimental critical writing," or "intellectual autobiography"—maps a dramatic change in the direction of literary criticism.
Contributors. Julia Balen, Dana Beckelman, Ellen Brown, Sandra M. Brown, Rosanne Kanhai-Brunton, Suzanne Bunkers, Peter Carlton, Brenda Daly, Victoria Ekanger, Diane P. Freedman, Olivia Frey, Shirley Nelson Garner, Henry Louis Gates, Jr., Melody Graulich, Gail Griffin, Dolan Hubbard, Kendall, Susan Koppelman, Shirley Geok-Lin Lim, Linda Robertson, Carol Taylor, Jane Tompkins, Cheryl Torsney, Trace Yamamoto, Frances Murphy Zauhar
In these essays, Scroggins reviews the legacy of Louis Zukofsky, delineates the exceptional influence of the Black Mountain poets, and provides close readings of a wealth of examples of poetic works from poets who have carried the modernist legacy into contemporary poetry. He traces with an insider’s keen observation the careers of many of the most dynamic, innovative, and celebrated poets of the past half-century, among them Ian Hamilton Finlay, Ronald Johnson, Rae Armantrout, Harryette Mullen, and Anne Carson.
In a concluding pair of essays, Scroggins situates his own practice within the broad currents he has described. He reflects on his own aesthetics as a contemporary poet and, drawing on his extensive study and writing about Louis Zukofsky, examines the practical and theoretical challenges of literary biography.
While the core of these essays is the interpretation of poetry, Scroggins also offers clear aesthetic evaluations of the successes and failures of the poetries he examines. Scroggins engages with complex and challenging works, and yet his highly accessible descriptions and criticisms avoid theoretical entanglements and specialized jargon. Intricate Thicket yields subtle and multifaceted insights to experts and newcomers alike.
This innovative textbook for learning classical Chinese poetry moves beyond the traditional anthology of poems translated into English and instead brings readers—including those with no knowledge of Chinese—as close as possible to the texture of the poems in their original language. The first two chapters introduce the features of classical Chinese that are important for poetry and then survey the formal and rhetorical conventions of classical poetry. The core chapters present the major poets and poems of the Chinese poetic tradition from earliest times to the lyrics of the Song Dynasty (960–1279).
Each chapter begins with an overview of the historical context for the poetry of a particular period and provides a brief biography for each poet. Each of the poems appears in the original Chinese with a word-by-word translation, followed by Fuller’s unadorned translation, and a more polished version by modern translators. A question-based study guide highlights the important issues in reading and understanding each particular text.
Designed for classroom use and for self-study, the textbook’s goal is to help the reader appreciate both the distinctive voices of the major writers in the Chinese poetic tradition and the grand contours of the development of that tradition.
“In short, this is a reference work of the best kind. For the beginner, it is indispensable. And for those who already know something about its subject matter, the book is in many ways useful, informative, and interesting. We all owe a debt to [the author] for undertaking this significant project, and for completing it so well.”
—Michael Peachin, Classical World
“. . . provides invaluable road maps for non-epigraphers faced with passages of inscribed Greek.”
—Graham Shipley, Bryn Mawr Classical Review
Greek inscriptions form a valuable resource for the study of all aspects of the Greco-Roman world. They are primary witnesses to society's laws and institutions, religious habits, and language. This volume provides students with the tools to take advantage of the historical value of these treasures. It examines letter forms, ancient names, and ancient calendars, knowledge of which is essential in reading inscriptions of all kinds.
B. H. McLean discusses the classification of inscriptions into their various categories and analyzes particular types of inscriptions, including decrees, honorary inscriptions, dedications, funerary inscriptions, and manumissions. Finally, McLean includes special topics that bear upon the interpretation of specific features of inscriptions, such as Greek and Roman administrative titles and functions.
Spain’s only former colony in sub-Saharan Africa, Equatorial Guinea is home to a literature of transition—songs of freedom in which authors reflect on their identity within the context of recent colonialism and dictatorship.
An Introduction to the Literature of Equatorial Guinea is the first book-length critical study of this literature, a multigenre analysis encompassing fifty years of poetry, drama, essays, and prose fiction. Both resident and exiled authors offer insights into the impact of colonialism and dictatorship under Spanish rule and consider the fruits of “independence” under the regimes of Francisco Macías Nguema and Teodoro Obiang Nguema. Examining these works from the perspective of postcolonial theory, Marvin A. Lewis shows how writings from Equatorial Guinea depict the clash of traditional and European cultures and reflect a dictatorship that produced poverty, misery, and oppression. He assesses with particular care the impact of the Macías reafricanization process and its manifestations in literature.
In showing how the views of the nation correspond and diverge in works of writers such as Maria Nsue Angue, Donato Ndongo-Bidyogo, and Juan Tomás Ávila Laurel, Lewis brings to light artists who articulate their concerns in Spanish but are African in their souls. In analyzing the works of both renowned and emerging writers, he marks the themes that contribute to the formation of national identity: Hispanic heritage, the myth of Bantu unity, “bonding in adversity” during the Nguema regime, and the Equatoguinean diaspora.
Lewis provides an accessible introduction to the work of central writers in a new area of literary study and includes the most exhaustive and up-to-date bibliography available on the subject. His is a groundbreaking work that broadens our understanding of African literature and will be the bedrock for future studies of this Hispanic corner of Africa.
Using an array of primary sources, Maria Frawley here constructs a cultural history of invalidism. She describes the ways that Evangelicalism, industrialization, and changing patterns of doctor/patient relationships all converged to allow a culture of invalidism to flourish, and explores what it meant for a person to be designated—or to deem oneself—an invalid. Highlighting how different types of invalids developed distinct rhetorical strategies, her absorbing account reveals that, contrary to popular belief, many of the period's most prominent and prolific invalids were men, while many women found invalidism an unexpected opportunity for authority.
In uncovering the wide range of cultural and social responses to notions of incapacity, Frawley sheds light on our own historical moment, similarly fraught with equally complicated attitudes toward mental and physical disorder.
Skin is unique to each individual. Acting as a record, it details aspects of a person and a collective memory. Each skin possesses a sensitivity that touches and it is touched by the world. It mediates temperature fluctuations and is marked by cuts, accidents, and its own history. Skin marks us in the world, giving us the outline of individuals. Invented Skins focuses on the skin to consider the social dimension of texts and images throughout cultural memory, showing that skin is a biological reality that occupies a physical and psychic space but also unfolds in the imagination.
Woll analyzes the aesthetic strategies Trifonov deployed to transmit his ideas and opinions to Soviet readers and elucidates the major themes of his late fiction: the moral climate that permitted the triumph of Stalinist immorality, the relationship between the Bolshevik revolutionary past and present-day Soviet amorality, and, finally, art's prismatic interpretation of reality. Drawing on both Western and Soviet scholarship, as well as interviews with many Soviet and emigre writers, literary critics, and personal acquaintances of Trifonov, Woll provides detailed background on the Soviet literary milieu and the rules governing literary production.
Ajuan Maria Mance establishes that the history of African American women's poetry revolves around the struggle of the Black female poet against two marginalizing forces: the widespread association of womanhood with the figure of the middle-class, white female; and the similar association of Blackness with the figure of the African American male. In so doing, she looks closely at the major trends in Black women's poetry during each of four critical moments in African American literary history: the post- Reconstruction era from 1877 to 1910; the Harlem Renaissance of the 1920s; the Black Arts Movement from 1965 to 1975; and the late twentieth century from 1975 to 2000.
“Inventing Edward Lear is an exceptional, valuable, original study, presenting new materials on aspects of Lear’s life and work.”
—Jenny Uglow, author of Mr. Lear and The Lunar Men
Edward Lear wrote some of the best-loved poems in English, including “The Owl and the Pussycat,” but the father of nonsense was far more than a poet. He was a naturalist, a brilliant landscape painter, an experimental travel writer, and an accomplished composer. Sara Lodge presents the fullest account yet of Lear’s passionate engagement in the intellectual, social, and cultural life of his times.
Lear had a difficult start in life. He was epileptic, asthmatic, and depressive, but even as a child a consummate performer who projected himself into others’ affections. He became, by John James Audubon’s estimate, one of the greatest ornithological artists of the age. Queen Victoria—an admirer—chose him to be her painting teacher. He popularized the limerick, set Tennyson’s verse to music, and opened fresh doors for children and adults to share fantasies of magical escape. Lodge draws on diaries, letters, and new archival sources to paint a vivid picture of Lear that explores his musical influences, his religious nonconformity, his relationship with the Pre-Raphaelite movement, and the connections between his scientific and artistic work. He invented himself as a character: awkward but funny, absurdly sympathetic. In Lodge’s hands, Lear emerges as a dynamic and irreverent polymath whose conversation continues to draw us in.
Inventing Edward Lear is an original and moving account of one of the most intriguing and creative of all Victorians.
Choosing two historical moments of sweeping material and cultural change in Spanish history, Sieburth reads two novels from the 1880s (by Benito Pérez Galdós) and two from the 1970s (by Juan Goytisolo and Carmen Martín Gaite) as fictional theories about the impact of modernity on culture and politics. Her analysis reveals that the high/low division in the cultural sphere reinforces other kinds of separations—between social classes or between men and women—dear to the elite but endangered by progress. This tension, she shows, is particularly evident in Spain, where modernization has been a contradictory and uneven process, rarely accompanied by political freedom, and where consumerism and mass culture coexist uneasily with older ways of life.
Weaving together a wide spectrum of diverse material, her work will be of interest to readers concerned with Spanish history and literature, literary theory, popular culture, and the relations between politics, economics, gender, and the novel.
Just as Ireland has produced many brilliant writers in the past century, so these writers have produced a new Ireland. In a book unprecedented in its scope and approach, Declan Kiberd offers a vivid account of the personalities and texts, English and Irish alike, that reinvented the country after centuries of colonialism. The result is a major literary history of modern Ireland, combining detailed and daring interpretations of literary masterpieces with assessments of the wider role of language, sport, clothing, politics, and philosophy in the Irish revival.
In dazzling comparisons with the experience of other postcolonial peoples, the author makes many overdue connections. Rejecting the notion that artists such as Wilde, Shaw, Yeats, Joyce, and Beckett became modern to the extent that they made themselves "European," he contends that the Irish experience was a dramatic instance of experimental modernity and shows how the country's artists blazed a trail that led directly to the magic realism of a García Márquez or a Rushdie. Along the way, he reveals the vital importance of Protestant values and the immense contributions of women to the enterprise. Kiberd's analysis of the culture is interwoven with sketches of the political background, bringing the course of modern Irish literature into sharp relief against a tragic history of conflict, stagnation, and change.
Inventing Ireland restores to the Irish past a sense of openness that it once had and that has since been obscured by narrow-gauge nationalists and their polemical revisionist critics. In closing, Kiberd outlines an agenda for Irish Studies in the next century and detects the signs of a second renaissance in the work of a new generation of authors and playwrights, from Brian Friel to the younger Dublin writers.
In Inventing the Addict, Zieger tells the story of how the addict, a person uniquely torn between disease and desire, emerged from a variety of earlier figures such as drunkards, opium-eating scholars, vicious slave masters, dissipated New Women, and queer doctors. Drawing on a broad range of literary and cultural material, including canonical novels such as Uncle Tom's Cabin, The Strange Case of Dr. Jekyll and Mr. Hyde, and Dracula, she traces the evolution of the concept of addiction through a series of recurrent metaphors: exile, self-enslavement, disease, and vampirism. She shows how addiction took on multiple meanings beyond its common association with intoxication or specific habit-forming substances—it was an abiding desire akin to both sexual attraction and commodity fetishism, a disease that strangely failed to meet the requirements of pathology, and the citizen's ironic refusal to fulfill the promise of freedom.
Nor was addiction an ideologically neutral idea. As Zieger demonstrates, it took form over time through specific, shifting intersections of gender, race, class, and sexuality, reflecting the role of social power in the construction of meaning.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Authorial invention in the Middle Ages is the base of a national tradition that English writers in the Renaissance saw as stable and capable of emulating the canons of classical languages and the Italian and French vernaculars. In Invention and Authorship in Medieval England, Robert R. Edwards brings new interpretive perspectives to Walter Map, Marie de France, John Gower, Geoffrey Chaucer, Thomas Hoccleve, and John Lydgate. He offers a critical reading of key moments that define the emergence of medieval English authorship by showing how writers adapt the commonplaces of authorship to define themselves and their works externally and to construct literary meaning internally.
The school of Greek philosopher Epicurus, which became known as the Garden, famously put great stock in happiness and pleasure. As a philosophical community, and a way of seeing the world, Epicureanism had a centuries-long life in Athens and Rome, as well as across the Mediterranean.
The Invention and Gendering of Epicurusstudies how the Garden's outlook on pleasure captured Greek and Roman imaginations---particularly among non-Epicureans---for generations after its legendary founding. Unsympathetic sources from disparate eras generally focus not on historic personages but on the symbolic Epicurean. And yet the traditions of this imagined Garden, with its disreputable women and unmanly men, give us intermittent glimpses of historical Epicureans and their conceptions of the Epicurean life.
Pamela Gordon suggests how a close hearing and contextualization of anti-Epicurean discourse leads us to a better understanding of the cultural history of Epicureanism. Her primary focus is on sources hostile to the Garden, but her Epicurean-friendly perspective is apparent throughout. Her engagement with ancient anti-Epicurean texts makes more palpable their impact on modern responses to the Garden.
Intended both for students and for scholars of Epicureanism and its response, the volume is organized primarily according to the themes common among Epicurus' detractors. It considers the place of women in Epicurean circles, as well as the role of Epicurean philosophy in Homer and other writers.
Jane Ellen Harrison (1850-1928) is the most famous female Classicist in history, the author of books that revolutionized our understanding of Greek culture and religion. A star in the British academic world, she became the quintessential Cambridge woman--as Virginia Woolf suggested when, in A Room of One's Own, she claims to have glimpsed Harrison's ghost in the college gardens.
This lively and innovative portrayal of a fascinating woman raises the question of who wins (and how) in the competition for academic fame. Mary Beard captures Harrison's ability to create her own image. And she contrasts her story with that of Eugénie Sellers Strong, a younger contemporary and onetime intimate, the author of major work on Roman art and once a glittering figure at the British School in Rome--but who lost the race for renown. The setting for the story of Harrison's career is Classical scholarship in this period--its internal arguments and allegiances and especially the influence of the anthropological strain most strikingly exemplified by Sir James Frazer. Questioning the common criteria for identifying intellectual "influence" and "movements," Beard exposes the mythology that is embedded in the history of Classics. At the same time she provides a vivid picture of a sparkling intellectual scene. The Invention of Jane Harrison offers shrewd history and undiluted fun.
Li Yu (1610–1680) was a brilliant comic writer and entertainer, a thoroughgoing professional whose life was in his work-plays, stories, a novel, criticism, essays, and poems. Patrick Hanan places him in the society of his day, where even his precarious livelihood, his constant search for patronage, did not dampen his versatility, his irreverent wit, or his jocund spirit. Li was also an epicure, an inventor, a pundit, and a designer of houses and gardens. He was an exceptional figure in Chinese culture for two reasons: his disregard of the authority of tradition, and his dedication to the cause of comedy.
Hanan uses the term “invention” in his title in several ways: Li Yu’s invention of himself, his public image-his originality and inventiveness in a multitude of fields and the literary products of his inventiveness. With expert and entertaining translations Hanan explores the key features of Li Yu’s work, summarizing, describing, and quoting extensively to convey Li’s virtuosity, his unconventionality, his irreverence, his ribaldry. This is a splendid introduction to the art and persona of a Chinese master of style and ingenuity.
Drawing on an impressive array of sources including travel narratives, elocution manuals, theological writings, ballad collections, and legal records, McDowell re-creates a world in which everyone from fishwives to philosophers, clergymen to street hucksters, competed for space and audiences in taverns, marketplaces, and the street. She argues that the earliest positive efforts to theorize "oral tradition," and to depict popular oral culture as a culture (rather than a lack of culture), were prompted less by any protodemocratic impulse than by a profound discomfort with new cultures of reading, writing, and even speaking shaped by print.
Challenging traditional models of oral versus literate societies and key assumptions about culture’s ties to the spoken and the written word, this landmark study reorients critical conversations across eighteenth-century studies, media and communications studies, the history of the book, and beyond.
It was not until the twentieth century that Boston became better known for its role in investment management. In 1924, local financiers created the first mutual fund, an innovation almost a century in the making. After World War II, Boston originated venture capital with the founding of American Research & Development. This was soon followed by the development of private equity, the growth of the mutual fund industry, the pension "revolution" that changed and strengthened money management, the evolution in management of institutional endowments, and the rise of new family offices and hedge funds. The contributions of fiduciaries and investment managers have played an important part in the rise of the "New Boston" and made the city one of the most vibrant financial capitals in the world.
Investment Management in Boston is published in association with Massachusetts Historical Society.
A rich literary study of AfroLatinx life writing, this book traces how AfroLatinxs have challenged their erasure in the United States and Latin America over the last century.
Invisibility and Influence demonstrates how a century of AfroLatinx writers in the United States shaped life writing, including memoir, collective autobiography, and other formats, through depictions of a wide range of “Afro-Latinidades.” Using a woman-of-color feminist approach, Regina Marie Mills examines the work of writers and creators often excluded from Latinx literary criticism. She explores the tensions writers experienced in being viewed by others as only either Latinx or Black, rather than as part of their own distinctive communities. Beginning with Arturo (Arthur) Schomburg, who contributed to wider conversations about autobiographical technique, Invisibility and Influence examines a breadth of writers, including Jesús Colón; members of the Young Lords; Piri Thomas; Lukumi santera and scholar Marta Moreno Vega; and Black Mexican American poet Ariana Brown. Mills traces how these writers confront the distorted visions of AfroLatinxs in the United States, Latin America, and the Caribbean, and how they created and expressed AfroLatinx spirituality, politics, and self-identity, often amidst violence. Mapping how AfroLatinx writers create their own literary history, Mills reveals how AfroLatinx life writing shapes and complicates discourses on race and colorism in the Western Hemisphere.
In 1952 Ralph Ellison won the National Book Award for his Kafkaesque and claustrophobic novel about the life of a nameless young black man in New York City. Although Invisible Man has remained the only novel that Ellison published in his lifetime, it is generally regarded as one of the most important works of fiction in our century.
This new reading of a classic work examines Ellison's relation to and critique of the American literary canon by demonstrating that the pattern of allusions in Invisible Man forms a literary-critical subtext which challenges the accepted readings of such major American authors as Emerson, Melville, and Twain.
Modeling his argument on Foucault's analysis of the asylum, Nadel analyzes the institution of the South to show how it moved blacks from "enslavement" to "slavery" to "invisibility"—all in the interest of maintaining an organization of power based on racial caste. He then demonstrates the ways Ellison wrote in the modernist/surreal tradition to trace symbolically the history of blacks in America as they moved not only from the nineteenth century to the twentieth, and from the rural South to the urban North, but as they moved (sometimes unnoticed) through American fiction.
It is on this latter movement that Nadel focuses his criticism, first demonstrating theoretically that allusions can impel reconsideration of the alluded-to text and thus function as a form of literary criticism, and then reading the specific criticism implied by Ellison's allusions to Emerson's essays and Lewis Mumford's The Golden Days, as well as to "Benito Cereno" and The Adventures of Huckleberry Finn. Nadel also considers Ellison's allusions to Whitman, Eliot, Joyce, and the New Testament.
Invisible Criticism will be of interest not only to students of American and Afro-American literature but also to those concerned about issues of literary theory, particularly in the areas of intertextual relationships, canonicity, and rehistoricism.
Invisible Darkness offers a striking interpretation of the tortured lives of the two major novelists of the Harlem Renaissance: Jean Toomer, author of Cane (1923), and Nella Larsen, author of Quicksand (1928) and Passing (1929). Charles R. Larson examines the common belief that both writers "disappeared" after the Harlem Renaissance and died in obscurity; he dispels the misconception that they vanished into the white world and lived unproductive and unrewarding lives.
In clear, jargon-free language, Larson demonstrates the opposing views that both writers had about their work vis-à-vis the incipient black arts movement; he traces each writer's troubled childhood and describes the unresolved questions of race that haunted Toomer and Larsen all of their lives. Larson follows Toomer through the wreckage of his personal life as well as the troubled years of his increasingly quirky spiritual quest until his death in a nursing home in 1967. Using previously unpublished letters and documents, Larson establishes for the first time the details of Larsen's life, illustrating that virtually every published fact about her life is incorrect.
With an innovative chronology that breaks the conventions of the traditional biographical form, Larson narrates what happened to both of these writers during their supposed years of withdrawal. He demonstrates that Nella Larsen never really gave up her fight for creative and personal fulfillment and that Jean Toomer's connection to the Harlem Renaissance—and the black world—is at best a dubious one. This strong revisionist interpretation of two major writers will have a major i mpact on African American literary studies.
Although Elizabeth Barrett Browning and Benjamin Robert Haydon never met, their lively and topical conversation, initiated in 1842, continued unabated until 1845, about a year before the painter’s suicide. It was a somewhat lopsided correspondence in which ninety-four letters written by Haydon, most of which have not been published before, received fewer replies from Miss Barrett, twenty-eight of which are included in this book. Judging from the contents of the letters, the epistolary friendship was truly meaningful to both. To Miss Barrett, Haydon was “my dear kind friend”; he was far more effusive, addressing her as “you Ingenious little darling invisible” and “my dearest dream & invisible intellectuality.”
In spite of Haydon’s frequent pleas for a meeting, Miss Barrett never agreed to receive him. However, as the correspondence progressed, they exchanged more and more confidences and each recognized the other as a responsive and sympathetic listener. With complete candor Haydon admitted at one point that egotism was the basis of his pleasure in the correspondence; “I never ask what you are doing,” he wrote, “but take it for granted what I am doing must be delightful to you.”
Evincing warmth and poignancy, the letters range over a variety of colorful subjects covering art, literature, current events, and gossip. The Elgin Marbles and Queen Victoria are discussed, and the correspondents air opposing views on mesmerism and Napoleon versus Wellington. After a thoughtful introduction which provides background information on Miss Barrett and Haydon, Willard Pope presents the letters—carefully annotated with identifying information on people, places, and current events—in chronological order.
Why is the world orderly, and how does this order come to be? Human beings inhabit a multitude of apparently ordered systems—natural, social, political, economic, cognitive, and others—whose origins and purposes are often obscure. In the eighteenth century, older certainties about such orders, rooted in either divine providence or the mechanical operations of nature, began to fall away. In their place arose a new appreciation for the complexity of things, a new recognition of the world’s disorder and randomness, new doubts about simple relations of cause and effect—but with them also a new ability to imagine the world’s orders, whether natural or manmade, as self-organizing. If large systems are left to their own devices, eighteenth-century Europeans increasingly came to believe, order will emerge on its own without any need for external design or direction.
In Invisible Hands, Jonathan Sheehan and Dror Wahrman trace the many appearances of the language of self-organization in the eighteenth-century West. Across an array of domains, including religion, society, philosophy, science, politics, economy, and law, they show how and why this way of thinking came into the public view, then grew in prominence and arrived at the threshold of the nineteenth century in versatile, multifarious, and often surprising forms. Offering a new synthesis of intellectual and cultural developments, Invisible Hands is a landmark contribution to the history of the Enlightenment and eighteenth-century culture.
MacLeod’s exploration focuses on the representation of female characters in French comics across genres, artistic styles, and time periods. Until now, these characters and their creators have received relatively little scholarly attention, or have only been considered individually, rather than within wider patterns of female representation; this book aims to correct that.
This critical evaluation of Ford Madox Ford's "novels of war, which are also novels about peace," is made in a most delightful manner. Based on a thorough knowledge of the novelist, it is enriched by keen perception and delicate taste and is couched in an informal, highly readable style.
Ambrose Gordon, Jr., here analyzes seven novels by Ford that in Gordon's opinion constitute Ford's masterpieces: Parade's End (a tetralogy consisting of Some Do Not, No More Parades, A Man Could Stand Up, and The Last Post), The Marsden Case, No Enemy, and The Good Soldier.
Interested in what these novels have to say, Gordon is equally interested in how they make their comment, and so approaches them through analysis of the fictional methods that Ford employed. Yet he skillfully avoids a common error of critics who become absorbed in technique—loss of contact with the book itself—by providing numerous quotations of sufficient length to indicate the novels' quality. These passages, examined in detail for content and technique, give the reader an understanding of the novel that, though not a substitute for one's own reading of the narratives, is enhanced by the interpretation of a brilliant critic.
Gordon traces the development of the novelist's art in various phases: the characteristic moods and general patterns of his novels, his borrowings from the French, the effects of his association with Conrad, his concept of the novel as fairy tale, his use of scene exteriors and interiors. Gordon's discussion cuts across the seven novels in many aspects but concentrates on one novel, or a group of novels, when his ideas have less general illustration.
An appeal for the importance of theory, utopia, and close consideration of our contemporary dark times
What does any particular theory allow us to do? What is the value of doing so? And who benefits? In Invoking Hope, Phillip E. Wegner argues for the undiminished importance of the practices of theory, utopia, and a deep and critical reading of our current situation of what Bertolt Brecht refers to as finsteren Zeiten, or dark times.
Invoking Hope was written in response to three events that occurred in 2016: the five hundredth anniversary of the publication of Thomas More’s Utopia; the one hundredth anniversary of the founding text in theory, Ferdinand de Saussure’s Course in General Linguistics; and the rise of the right-wing populism that culminated in the election of Donald Trump. Wegner offers original readings of major interventions in theory alongside dazzling utopian imaginaries developed from classical Greece to our global present—from Theodor Adorno, Ernst Bloch, Alain Badiou, Jacques Derrida, Fredric Jameson, Sarah Ahmed, Susan Buck-Morss, and Jacques Lacan to such works as Plato’s Republic, W. E. B. Du Bois’s John Brown, Isak Dinesen’s “Babette’s Feast,” Kim Stanley Robinson’s 2312, and more. Wegner comments on an expansive array of modernist and contemporary literature, film, theory, and popular culture.
With Invoking Hope, Wegner provides an innovative lens for considering the rise of right-wing populism and the current crisis in democracy. He discusses challenges in the humanities and higher education and develops strategies of creative critical reading and hope against the grain of current trends in scholarship.
Involuntary Confessions of the Flesh in Early Modern France was inspired by the observation that small slips of the flesh (involuntary confessions of the flesh) are omnipresent in early modern texts of many kinds. These slips (which bear similarities to what we would today call the Freudian slip) disrupt and destabilize readings of body, self, and text—three categories whose mutual boundaries this book seeks to soften—but also, in their very messiness, participate in defining them. Involuntary Confessions capitalizes on the uncertainty of such volatile moments, arguing that it is instability itself that provides the tools to navigate and understand the complexity of the early modern world. Rather than locate the body within any one discourse (Foucauldian, psychoanalytic), this book argues that slips of the flesh create a liminal space not exactly outside of discourse, but not necessarily subject to it, either. Involuntary confessions of the flesh reveal the perpetual and urgent challenge of early modern thinkers to textually confront and define the often tenuous relationship between the body and the self. By eluding and frustrating attempts to contain it, the early modern body reveals that truth is as much about surfaces as it is about interior depth, and that the self is fruitfully perpetuated by the conflict that proceeds from seemingly irreconcilable narratives.
Interdisciplinary in its scope, Involuntary Confessions of the Flesh in Early Modern France pairs major French literary works of the sixteenth and seventeenth centuries (by Marguerite de Navarre, Montaigne, Madame de Lafayette) with cultural documents (confession manuals, legal documents about the application of torture, and courtly handbooks). It is the first study of its kind to bring these discourses into thematic (rather than linear or chronological) dialog. In so doing, it emphasizes the shared struggle of many different early modern conversations to come to terms with the body’s volatility.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
This landmark collection features emerging poets who combine a commitment to innovation and experimentation with a love for the lyric tradition, whose poetry transcends “mainstream” and avant-garde practice to create new and exciting poetic territories.
These new American poetries for the twenty-first century and beyond reach back toward the Modernists and even earlier lyric poetries (such as those of Wyatt, Donne, Keats, and Dickinson) and, simultaneously, reach forward to poetic possibilities not yet realized or even imagined. Most of the poets included here have won publication prizes, awards, and fellowships, and some have had their work anthologized. Others are at earlier stages of recognition but have published in major journals. All are writing highly accomplished work that will soon find a wider audience.
One distinguishing feature of this collection is the inclusion of substantial artistic statements from each contributor, in which the poets discuss their works, their influences, their aims, and their poetics. These statements are invaluable in giving readers a point of entry to the poems and can contribute to the development of a conversation among American poets that transcends questions of “craft” to address fundamental issues of poetry as an artistic practice.
Shepherd, a leading poet, essayist, and literary critic, is uniquely situated to bring us this important collection: young enough to feel the spirit of newer poets and yet established enough to bring a more experienced eye and a wider view to this groundbreaking project.The Iowa Anthology of New American Poetries highlights some of the most exciting, vital, and productive tendencies in contemporary American poetry and will be a significant milestone for students and teachers of poetry as well as for the general reader.
The first part of the collection focuses on Murdoch’s literary works and approach to art. Frances White’s opening essay examines the influence of Virginia Woolf on Murdoch, while Elaine Morley deals with attention and “unselfing” in the writer’s works. Much can be learned from Murdoch’s letters, as Miles Leeson and Anne Rowe demonstrate in their respective contributions. David James explores Murdoch’s influence on fellow Irish writer John Banville. Finally, Pamela Osborn and Rivka Isaacson offer vastly different perspectives on Murdoch’s fourth novel, The Bell, in the two essays that round out the literature-centric half of the collection.
Part two highlights concepts in and approaches to Murdoch’s philosophical thought. Tony Milligan writes of the meanings of puritanism and truthfulness in Murdoch’s philosophical writings and essays and in her novel A Fairly Honourable Defeat. Julián Jiménez Heffernan’s contribution centers on Murdoch’s confrontation with the notion of contingency. Using the philosophical lens of metaxu, Kate Larson suggests a new approach to Murdoch’s thought by looking at it in relation to that of Simone Weil. Paul Martens locates the similarities of structure in Murdoch’s The Black Prince and Søren Kierkegaard’s Fear and Trembling. Lastly, Matthew Martinuk delves into the affinity of thought between Charles Taylor and Murdoch.
By examining both Murdoch’s influences and those she has influenced, Iris Murdoch Connected constructs complex new understandings of this formidable writer’s vast contributions to literature and philosophy.
A celebration of the tenacious life of the enduring Irish classics, this book by one of Irish writing's most eloquent readers offers a brilliant and accessible survey of the greatest works since 1600 in Gaelic and English, which together have shaped one of the world's most original literary cultures.
In the course of his discussion of the great seventeenth- and eighteenth-century Gaelic poems of dispossession, and of later work in that language that refuses to die, Declan Kiberd provides vivid and idiomatic translations that bring the Irish texts alive for the English-speaking reader.
Extending from the Irish poets who confronted modernity as a cataclysm, and who responded by using traditional forms in novel and radical ways, to the great modern practitioners of such paradoxically conservative and revolutionary writing, Kiberd's work embraces three sorts of Irish classics: those of awesome beauty and internal rigor, such as works by the Gaelic bards, Yeats, Synge, Beckett, and Joyce; those that generate a myth so powerful as to obscure the individual writer and unleash an almost superhuman force, such as the Cuchulain story, the lament for Art O'Laoghaire, and even Dracula; and those whose power exerts a palpable influence on the course of human action, such as Swift's Drapier's Letters, the speeches of Edmund Burke, or the autobiography of Wolfe Tone. The book closes with a moving and daring coda on the Anglo-Irish agreement, claiming that the seeds of such a settlement were sown in the works of Irish literature.
A delight to read throughout, Irish Classics is a fitting tribute to the works it reads so well and inspires us to read, and read again.
Irish Writers in the Irish American Press spans the period from Oscar Wilde's 1882 American lecture tour to the months following JFK's assassination and covers the century in which Irish American identity was shaped by immigration, religion, politics, and economic advancement. Through a close engagement with Irish American periodicals, Butler offers a more nuanced understanding of the connections between Irish literary studies and Irish American culture during this period.
Combining theoretical breadth with close textual analysis, Erica Weitzman shows how irony, a key term for the German romantics, reemerged in the early twentieth century from a postromantic relegation to the nonsensical and the nihilistic in a way that both rethought romantic irony and dramatically extended its reach.
Through readings of works by Robert Walser, Franz Kafka, and Joseph Roth against the rich history of comic theory (particularly Hegel and Freud), Weitzman traces the development of a specifically comic irony in modern German-language literature and philosophy, a play with the irony that is itself the condition for all play. She thus provides a crucial reevaluation of German literary history and offers new insights into the significance of irony and the comic from the Enlightenment to the present day.
Rulin waishi (The Unofficial History of the Scholars) is more than a landmark in the history of the Chinese novel. This eighteenth-century work, which was deeply embedded in the intellectual and literary discourses of its time, challenges the reader to come to grips with the mid-Qing debates over ritual and ritualism, and the construction of history, narrative, and lyricism. Wu Jingzi's (1701–54) ironic portrait of literati life was unprecedented in its comprehensive treatment of the degeneration of mores, the predicaments of official institutions, and the Confucian elite's futile struggle to reassert moral and cultural authority. Like many of his fellow literati, Wu found the vernacular novel an expressive and malleable medium for discussing elite concerns.
Through a close reading of Rulin waishi, Shang Wei seeks to answer such questions as What accounts for the literati's enthusiasm for writing and reading novels? Does this enthusiasm bespeak a conscious effort to develop a community of critical discourse outside the official world? Why did literati authors eschew publication? What are the bases for their social and cultural criticisms? How far do their criticisms go, given the authors' alleged Confucianism? And if literati authors were interested solely in recovering moral and cultural hegemony for their class, how can we explain the irony found in their works?
Is It Nation Time? gathers new and classic essays on the Black Power movement and its legacy by renowned thinkers who deal rigorously and unsentimentally with such issues as the commodification of blackness, the piety of cultural recovery, and class tensions within the movement. For anyone who wants to understand the roots of the complex political and cultural desires of contemporary black America, this will be an essential collection.
Contributors:
Eddie S. Glaude Jr.
Farah Jasmine Griffin
Phillip Brian Harper
Gerald Horne
Robin D. G. Kelley
Wahneema Lubiano
Adolph Reed Jr.
Jeffrey Stout
Will Walker
S. Craig Watkins
Cornel West
E. Francis White
With literature waning in the interest of so many, is Shakespeare the only poet the public can still appreciate? John Milton, as this book makes clear, speaks more powerfully to the eternal questions and to the important concerns of our time. The Milton of this volume is an author for all Americans—conservative, liberal, radical—not only because he was a favorite of the founding fathers, his voice echoing through their texts and our very foundation, but also because his visionary writing embodies the aspirations that have guided Americans seeking ideals of ethical and spiritual perfection.
Nigel Smith makes a compelling case for Milton’s relevance to our present situation. In direct and accessible terms, he shows how the seventeenth-century poet, while working to write the greatest heroic poem in the English language, also managed to theorize about religious, political, and civil liberty in ways that matter as much today as they did in Puritanical times. Through concise chapters that chart Milton’s life at the center of the English and European literary and political scenes—as well as his key themes of free will, freedom and slavery, love and sexual liberty, the meaning of creation, and the nature of knowledge—Smith’s work brings Milton, his poetry, and his prose home to readers of our day. A provocative and enlightening introduction, for newcomers and informed readers alike, this book rediscovers and redefines Milton for a new generation, one that especially needs and deserves to know him.
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