A SCHOLARLY BOOK REPOSITORY664 start with M start with M
The Middle English Dictionary is a monumental scholarly endeavor that began more than fifty years ago and is expected to be completed in 2001. The task of the editors compiling the dictionary is to document the English language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles U.1, U.2, and U.3 are the most recent additions to this ongoing undertaking. Published volumes include all fascicles from A.1 through U.3, plus the Plan and Bibliography.
The Middle English Dictionary is a monumental scholarly endeavor that began more than fifty years ago and is expected to be completed in 2001. The task of the editors compiling the dictionary is to document the English language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles U.1, U.2, and U.3 are the most recent additions to this ongoing undertaking. Published volumes include all fascicles from A.1 through U.3, plus the Plan and Bibliography.
The Middle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is scheduled to be completed in 2001. The task of the editors compiling the dictionary is to document the English language from just after the Norman Conquest to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles V.1, W.1, and W.2 are the most recent additions to this ongoing undertaking. Published volumes include all fascicles from A.1 through U.3, plus the Plan and Bibliography.
The Middle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is scheduled to be completed in 2001. The task of the editors compiling the dictionary is to document the English language from just after the Norman Conquest to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles V.1, W.1, and W.2 are the most recent additions to this ongoing undertaking. Published volumes include all fascicles from A.1 through U.3, plus the Plan and Bibliography.
The Middle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is scheduled to be completed in 2001. The task of the editors compiling the dictionary is to document the English language from just after the Norman Conquest to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles V.1, W.1, and W.2 are the most recent additions to this ongoing undertaking. Published volumes include all fascicles from A.1 through U.3, plus the Plan and Bibliography.
TheMiddle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is completed with the publication of these remaining fascicles. The task of the editors compiling the dictionary is to document theE nglish language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
TheMiddle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is completed with the publication of these remaining fascicles. The task of the editors compiling the dictionary is to document theE nglish language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicle X/Y/Z is the final addition to this incredible undertaking. Published volumes include all fascicles from A.1 through X/Y/Z, plus the Plan and Bibliography.
TheMiddle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is completed with the publication of these remaining fascicles. The task of the editors compiling the dictionary is to document theE nglish language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicle X/Y/Z is the final addition to this incredible undertaking. Published volumes include all fascicles from A.1 through X/Y/Z, plus the Plan and Bibliography.
TheMiddle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is completed with the publication of these remaining fascicles. The task of the editors compiling the dictionary is to document theE nglish language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicle X/Y/Z is the final addition to this incredible undertaking. Published volumes include all fascicles from A.1 through X/Y/Z, plus the Plan and Bibliography.
TheMiddle English Dictionary, a monumental scholarly endeavor that began more than fifty years ago, is completed with the publication of these remaining fascicles. The task of the editors compiling the dictionary is to document theE nglish language from just after the Norman Conquest up to the introduction of the printing press at the end of the 1400s. With that innovation the language became more or less standardized, but during the Middle Ages the language was evolving under the stress of events and social change, particularly as French culture was absorbed into the language. These were truly the formative years of the English language, and they present major challenges to lexicographers.
Fascicles W.9 and X/Y/Z will be the final additions to this incredible undertaking. Published volumes include all fascicles from A.1 through W.8, plus the Plan and Bibliography.
This volume reveals that black women across the globe share a common ground fraught with struggles, but the narratives bear out that these women are not easily divided and that they stand upon each other’s shoulders dispensing healing balms. Black women’s history and herstory commingle; the trauma that ensued when Africans were loaded onto ships in chains continues to haunt black women, and men, too, wherever they find themselves in this present moment of the Diaspora.
As midrash--the literature of classical Jewish Scriptural interpretation--has become the focus of new interest in contemporary literary circles, it has been invoked as a precursor of post-structuralist theory and criticism. At the same time, the midrashic imagination has undergone a revival in the larger Jewish community and shown itself capable of exercising a powerful influence and hold on a new type of contemporary Jewish writing. Stern examines this resurgence of fascination with ancient Jewish interpretation from the persepctive of the cultural relevance of midrash and its connection to its original historical and literary contexts.
"This edition of A Midsummer Night’s Dream takes the comedy seriously. Like my previous Hackett editions, it gives full weight to Shakespeare’s dramatic setting, which other editors (and scholars) almost always ignore or at least fail adequately to consider. Ancient Athens is the core, not the mere background, of Midsummer Night's Dream. As we shall see, Shakespeare focuses, in particular, on the love of the beautiful and the triumph of learning and art, along with the rise of democracy, which, as Pericles’ famously claims, are the hallmarks of Athens. 'We are lovers of the beautiful with thrift, and lovers of wisdom without softness' (Thucydides, The Peloponnesian War, 2.40.1). […]
Failure to consider classical Athens as central to Midsummer Night's Dream will cause a reader to miss not only the play’s remarkable substance, but much of its sparkling comedy as well. Far from impeding the play’s humor, focusing on Athens helps to bring out multi-layers of comedy that Shakespeare put there."
This Reader is organized into four parts, reflecting the fields that Bal has most profoundly influenced: literary study, interdisciplinary methodology, visual analysis, and postmodern theology. The essays include some of Bal’s most characteristic and provocative work, capturing her at the top of her form. “Narration and Focalization,” for example, provides the groundwork for Bal’s ideas on narrative, while “Reading Art?” clearly outlines her concept of reading images. “Religious Canon and Literary Identity” reenvisions Bal’s own work at the intersection of theology and cultural analysis, while “Enfolding Feminism” argues for a new feminist rallying cry that is not a position but a metaphor. More than a dozen other essays round out the four sections, each of which is interdisciplinary in its own right: the section devoted to literature, for instance, ranges widely over psychoanalysis, theology, photography, and even autobiography.
A Mieke Bal Reader is the product of a capacious intellect and a sustained commitment to critical thinking. It will prove to be instructive, maddening, and groundbreaking—in short, all the hallmarks of intellectual inquiry at its best.
Migration and continuity have shaped both the Chicano people and their oral and written literature. In this pathfinding study of Chicano literature, Teresa McKenna specifically explores how these works arise out of social, political, and psychological conflict and how the development of Chicano literature is inextricably embedded in this fact.
McKenna begins by appraising the evolution of Chicano literature from oral forms—including the important role of the corrido in the development of Chicano poetry. In subsequent chapters she examines the works of Richard Rodriguez and Rolando Hinojosa. She also devotes a chapter to the development of the Chicana voice in Chicano literature. Her epilogue considers the parallel development of Chicano literary theory and discusses some possible directions for research.
In McKenna's own words, "I believe that the future of this literature, as that of all literatures by people of color in the United States, rests largely on its being effectively introduced into the curricula at all levels, as well as its entrance into the critical consciousness of literary theory." This book will be an important step in that process.
Winner, 2021 CCCC Outstanding Book Award
Migrating Fictions analyzes the role of race, gender, and citizenship in the major internal displacements of the 20th century in history and in narrative. Surveying the particular tactics employed by the United States during the Great Migration, the Dust Bowl, the Japanese American incarceration, and the migrant labor of the Southwest, Abigail G. H. Manzella reveals how the country’s past is imbued with governmentally (en)forced movements that diminished access to full citizenship rights for the laboring class, people of color, and women.
This work is the first book-length study to examine all of these movements together along with their literature, including Zora Neale Hurston’s Their Eyes Were Watching God, Sanora Babb’s Whose Names Are Unknown, Julie Otsuka’s When the Emperor Was Divine, Helena María Viramontes’s Under the Feet of Jesus, and Jesmyn Ward’s Salvage the Bones. Manzella shows how the United States’ history of spatial colonization within its own borders extends beyond isolated incidents into a pattern based on ideology about nation-building, citizenship, and labor. This book seeks to theorize a Thirdspace, an alternate location for social justice that acknowledges the precarity of the internally displaced person.
Engage and explore readings from a multi-religious, globalized, multicultural region
The papers in this collection were presented at the third meeting of the Society of Asian Biblical Studies held at the Sabah Theological Seminary, Malaysia in 2012. The essays represent the work of women/feminist scholars in biblical hermeneutics in this region who have raised questions against traditional, male-centered interpretations, offering distinct perspectives based on their experiences of pain, subjugation, and a forced sacrificial philosophy of life.
Features:
- Articles focused on finding justice for women through dialogue with biblical texts
- Reflections on migration, diaspora, displacement, discrimination, and conditions generated by poverty and systemic oppression
- Five essays from women in China, Japan, and Korea
Migration is a frequent topic of many debates nowadays, whether it concerns refugees from war-torn areas or the economic pros and cons of the mobility of multinational corporations and their employees. Yet such migration has always been a part of the human experience, and its dimensions—with its shifting nature, manifestations, and consequences—were often greater than we can imagine today.
In this book, ten scholars from Czechia, Denmark, the Netherlands, Norway, Poland, and Sweden focus on how migration has manifested itself in literature and culture through the nineteenth, twentieth, and early twenty-first centuries in Denmark, Norway, Sweden, Finland, and Iceland. Examining the theme of migration as it relates to questions of identity, both national and individual, the authors argue that migration almost always leads to a disturbance of identity and creates a potential for conflicts between individuals and larger groups. The book digs deep into such cases of disturbance, disruption, and hybridization of identity as they are represented in three centuries of literary works from the European North.
Drawing from personal experiences and theoretical perspectives in such varied fields as sociology, political science, literature, and media studies, nineteen scholars assess recent shifts in Scandinavian societies and how they intertwine with broader transformations in Europe and beyond. Chapters explore a variety of topics, including themes of belonging and identity in Norway, the experiences and activism of the Nordic countries’ Indigenous populations, and parallels between the racist far-right resurgence in Sweden and the United States.
Contributors: Ellen A. Ahlness, Julie K. Allen, Grete Brochmann, Eric Einhorn, Sherrill Harbison, Anne Heith, Markus Huss, Peter Leonard, Barbara Mattsson, Kelly McKowen, Andreas Önnerfors, Elisabeth Oxfeldt, Tony Sandset, Carly Elizabeth Schall, Ryan Thomas Skinner, Admir Skodo, Benjamin R. Teitelbaum, Sayaka Osanami Törngren, Ethelene Whitmire
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Mikhail Kuzmin (1872–1936), Russia’s first openly gay writer, stood at the epicenter of the turbulent cultural and social life of Petersburg-Petrograd-Leningrad for over three decades. A poet of the caliber of Aleksandr Blok, Vladimir Mayakovsky, Boris Pasternak, Osip Mandelshtam, and Marina Tsvetaeva (and acknowledged as such by them and other contemporaries), Kuzmin was also a prose writer, playwright, critic, translator, and composer who was associated with every aspect of modernism’s history in Russia, from Symbolism to the Leningrad avant-gardes of the 1920s.
Only now is Kuzmin beginning to emerge from the “official obscurity” imposed by the Soviet regime to assume his place as one of Russia’s greatest poets and one of this century’s most characteristic and colorful creative figures. This biography, the first in any language to be based on full and uncensored access to the writer’s private papers, including his notorious Diary, places Kuzmin in the context of his society and times and contributes to our discovery and appreciation of a fascinating period and of Russia’s long suppressed gay history.
Miles Gloriosus or “Braggart Warrior” is one of the best-known and liveliest Roman comedies. It shows Plautus at his ablest in ingenious plot construction, vivid characterization, fast-moving action, and humorous dialogue.
This edition of the Latin text is fully and very helpfully annotated. The substantial introduction considers the antecedents of Plautus’s drama in Greek New Comedy and in Italic farce, his mixture of Greek and Roman both in language and in the life portrayed, and his stagecraft, language, and meter.
The strangeness of nineteenth-century poetic vision is exemplified most famously by Emerson’s transparent eyeball. That disembodied, omniscient seer is able to shed its body and transcend sight paradoxically in order to see—not to create—poetic language “manifest” on the American landscape. In Miles of Stare, Michelle Kohler explores the question of why, given American transcendentalism’s anti-empiricism, the movement’s central trope becomes an eye purged of imagination. And why, furthermore, she asks, despite its insistent empiricism, is this notorious eye also so decidedly not an eye? What are the ethics of casting a boldly equivocal metaphor as the source of a national literature amidst a national landscape fraught with slavery, genocide, poverty, and war?
Miles of Stare explores these questions first by tracing the historical emergence of the metaphor of poetic vision as the transcendentalists assimilated European precedents and wrestled with America’s troubling rhetoric of manifest destiny and national identity. These questions are central to the work of many nineteenth-century authors writing in the wake of transcendentalism, and Kohler offers examples from the writings of Douglass, Hawthorne, Dickinson, Howells, and Jewett that form a cascade of new visual metaphors that address the irreconcilable contradictions within the transcendentalist metaphor and pursue their own efforts to produce an American literature. Douglass’s doomed witness to slavery, Hawthorne’s reluctantly omniscient narrator, and Dickinson’s empty “miles of Stare” variously skewer the authority of Emerson’s all-seeing poetic eyeball while attributing new authority to the limitations that mark their own literary gazes.
Tracing this metaphorical conflict across genres from the 1830s through the 1880s, Miles of Stare illuminates the divergent, contentious fates of American literary vision as nineteenth-century writers wrestle with the commanding conflation of vision and language that lies at the center of American transcendentalism—and at the core of American national identity.
The real democratic reader, Whitman said, “must himself or herself construct indeed the poem, argument, history, metaphysical essay—the text furnishing the hints, the clue, the start or frame-work,” because what is needed for democracy to flourish is “a nation of supple and athletic minds.” Folsom and Merrill model this kind of active reading and encourage both seasoned and new readers of Whitman’s war writings to enter into the challenging and exhilarating mode of talking back to Whitman, arguing with him, and learning from him.
Andrzej Franaszek’s award-winning biography of Czeslaw Milosz—the great Polish poet and winner of the Nobel Prize in Literature in 1980—offers a rich portrait of the writer and his troubled century, providing context for a larger appreciation of his work. This English-language edition, translated by Aleksandra Parker and Michael Parker, contains a new introduction by the translators, along with historical explanations, maps, and a chronology.
Franaszek recounts the poet’s personal odyssey through the events that convulsed twentieth-century Europe: World War I, the Bolshevik revolution, the Nazi invasion and occupation of Poland, and the Soviet Union’s postwar dominance of Eastern Europe. He follows the footsteps of a perpetual outsider who spent much of his unsettled life in Lithuania, Poland, and France, where he sought political asylum. From 1960 to 1999, Milosz lived in the United States before returning to Poland, where he died in 2004.
Franaszek traces Milosz’s changing, constantly questioning, often skeptical attitude toward organized religion. In the long term, he concluded that faith performed a positive role, not least as an antidote to the amoral, soulless materialism that afflicts contemporary civilization. Despite years of hardship, alienation, and neglect, Milosz retained a belief in the transformative power of poetry, particularly its capacity to serve as a source of moral resistance and a reservoir of collective hope. Seamus Heaney once said that Milosz’s poetry is irradiated by wisdom. Milosz reveals how that wisdom was tempered by experience even as the poet retained a childlike wonder in a misbegotten world.
While scholars have chronicled Czesław Miłosz’s engagement with religious belief, no previous book-length treatment has focused on his struggles with theodicy in both poetry and thought. Miłosz wrestled with the problem of believing in a just God given the powerful evidence to the contrary in the natural world as he observed it and in the horrors of World War II and its aftermath in Poland. Rather than attempt to survey Miłosz’s vast oeuvre, Łukasz Tischner focuses on several key works—The Land of Ulro, The World, The Issa Valley, A Treatise on Morals, A Treatise on Poetry, and From the Rising of the Sun—carefully tracing the development of Miłosz’s moral arguments, especially in relation to the key texts that influenced him, among them the Bible, the Gnostic writings, and the works of Blake, Hegel, Kierkegaard, and Schopenhauer. The result is a book that examines Miłosz as both a thinker and an artist, shedding new light on all aspects of his oeuvre.
Mi-Lou is literally “The Palace of Going Astray,” a pleasure labyrinth built by a Chinese emperor in the early seventh century; whoever entered the Mi-Lou became so entranced that he never wanted to leave. On that architectural model, Stephen Owen's new book explores poetry from various cultures and historical periods, addressing issues of eros in both Chinese and Western poetry, putting poems together that have no right to be together but are somehow more vivid for their conjunction.
In passing from poem to poem, Mi-Lou: Poetry and the Labyrinth of Desire traces the hopes of lyric poetry, along with its compromises and failures. It begins with poems that try to seduce us, to catch us up in their world with visions that provoke desire, an intent embodied in the courtship poem. Owen's work strays through fantasies of replacement and comes finally to Eden and visions of nakedness, both of body and heart. If there is to be a comparative literature that goes beyond the familiar works of the European tradition, illicit conjunctions of works from strange and familiar, ancient and recent writings must be made—otherwise, works that are foreign to the traditional categories will be forced into categories not their own, or left aside as exotic minorities. Mi-Lou's success will not be in any conceptual structure it proposes, but in the pleasure of the poems and the pleasure of slowing down to reflect upon them.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Milton and the Making of Paradise Lost tells the story of John Milton's life as England’s self-elected national poet and explains how the single greatest poem of the English language came to be written.
In early 1642 Milton—an obscure private schoolmaster—promised English readers a work of literature so great that “they should not willingly let it die.” Twenty-five years later, toward the end of 1667, the work he had pledged appeared in print: the epic poem Paradise Lost. In the interim, however, the poet had gone totally blind and had also become a controversial public figure—a man who had argued for the abolition of bishops, freedom of the press, the right to divorce, and the prerogative of a nation to depose and put to death an unsatisfactory ruler. These views had rendered him an outcast.
William Poole devotes particular attention to Milton’s personal situation: his reading and education, his ambitions and anxieties, and the way he presented himself to the world. Although always a poet first, Milton was also a theologian and civil servant, vocations that informed the composition of his masterpiece. At the emotional center of this narrative is the astounding fact that Milton lost his sight in 1652. How did a blind man compose this staggeringly complex, intensely visual work? Poole opens up the epic worlds and sweeping vistas of Milton’s masterpiece to modern readers, first by exploring Milton’s life and intellectual preoccupations and then by explaining the poem itself—its structure, content, and meaning.
Milton and This Pendant World is an interpretation of the great English poet “in an age increasingly skeptical, in a culture dominated by the assumptions of the natural and historical sciences and by the illusions of progress and enlightenment.”
Those are the words of the author of this book, George Wesley Whiting, an eminent and devoted Miltonian. Believing that Milton has a vital message for the modern world, Whiting has abandoned the usual pattern for examining a poet—study of versification, meter, and other poetic devices. Instead, he presents an exposition of the spiritual and moral meaning of Milton’s poetry, which can still have truth and beauty for this doubting age.
The literary image of the pendant world was familiar in Milton’s seventeenth century, but is meaningless to most people of our day. The comforting picture of the world hanging from heaven on a golden chain signifies God’s close watchfulness over humanity and the inseparable bond which links us to the spiritual kingdom.
The author declares that the search for God and the struggle to overcome the spiritual and material forces that impede the search represent the most vital of all human efforts; for unless this search is our primary motivation, life is without meaning, without final purpose.
Whiting also observes that true Christianity stands not for the impoverishment of humanity and our enslavement to the Deity, but rather for human moral health, harmonious development, and spiritual welfare. In order to save civilization from destruction at the hands of its friends—secularists, specialists, militarists, and politicians—we must have a renaissance of the spirit, a cultural synthesis in which a revitalized religion, enriched by philosophy and science, renews the ideals of Christianity.
Bristling with insights on Milton’s major works, Milton’s Modernities offers fresh perspectives on the thinkers central to our theorizations of modernity: from Lucretius and Spinoza, Hegel and Kant, to Benjamin and Deleuze. At the volume's core is an embrace of the possibilities unleashed by current trends in philosophy, variously styled as the return to ethics, or metaphysics, or religion. These make all the more visible Milton’s dialogues with later modernity, dialogues that promise to generate much critical discussion in early modern studies and beyond.
Such approaches necessarily challenge many prevailing assumptions that have guided recent Milton criticism—assumptions about context and periodization, for instance. In this way, Milton’s Modernities powerfully broadens the historical archive beyond the materiality of events and things, incorporating as well intellectual currents, hybrids, and insights.
Mimetic Disillusion reevaluates the history of modern U.S. drama, showing that at mid-century it turned in the direction of a poststructuralist "disillusionment with mimesis" or mimicry.
This volume focuses on two major writers of the 1930s and 1940s--Eugene O'Neill and Tennessee Williams--one whose writing career was just ending and the other whose career was just beginning. In new readings of their major works from this period, Long Day's Journey into Night, The Iceman Cometh, The Glass Menagerie, and A Streetcar Named Desire, Fleche develops connections to the writings of Jacques Derrida, Paul de Man, and Michel Foucault, among others, and discusses poststructuralism in the light of modern writers such as Bertolt Brecht, Antonin Artaud, and Walter Benjamin. Fleche also extends this discussion to the work of two contemporary playwrights, Adrienne Kennedy and Tony Kushner. The aim of Mimetic Disillusion is not to reject "mimetic" and "realistic" readings but to explore the rich complexities of these two ideas and the fruit of their ongoing relevance to U.S. theatre.
Through new readings of War and Peace, Anna Karenina, The Brothers Karamazov, and other novels, Kitzinger traces a productive tension between mimetic characterization and the author’s ambition to transform the reader. She shows how Tolstoy and Dostoevsky create lifelike characters and why the dream of carrying the illusion of “life” beyond the novel consistently fails. Mimetic Lives challenges the contemporary truism that novels educate us by providing enduring models for the perspectives of others, with whom we can then better empathize. Seen close, the realist novel’s power to create a world of compelling fictional persons underscores its resources as a form for thought and its limits as a direct source of spiritual, social, or political change.
Drawing on scholarship in Russian literary studies as well as the theory of the novel, Kitzinger’s lucid work of criticism will intrigue and challenge scholars working in both fields.
Though we may associate Henry David Thoreau with ascetic renunciation, Thoreau accumulated a variety of tools, art, and natural specimens throughout his life as a homebuilder, surveyor, and collector. In some of these objects, particularly Indigenous artifacts, Thoreau perceived the presence of their original makers, and he called such objects “mindprints.” Thoreau believed that these collections could teach him how his experience, his world, fit into the wider, more diverse (even incoherent) assemblage of other worlds created and recreated by other beings every day. In this book, Gaskell explores how a profound environmental aesthetics developed from this insight and shaped Thoreau’s broader thought.
MacCurdy begins by discussing what trauma is, how traumatic memories are stored and accessed, and how writing affects them. She then focuses on the processes involved in translating traumatic images into narrative form, showing how the same patterns and problems emerge whether the writers are students or professionals. Using examples drawn from the classroom, MacCurdy investigates the beneficial effects of the study of trauma on communities as well as individuals, witnesses as well as writers, and explores the implications of these relationships for the world at large, particularly as they pertain to issues of justice, retribution, and forgiveness.
Throughout the volume the author draws on her own experience as teacher, writer, survivor, and descendant of survivors to explain how one can engage student work on difficult subjects without appropriating the texts or getting lost in the emotions generated by them. She further shows how appropriate safeguards can be put in place to protect both teacher and student writer. The end result of such a pedagogy, MacCurdy demonstrates, is not simply better writers but more integrated people, capable of converting their own losses and griefs into compassion for others.
In the late nineteenth and early twentieth centuries, Europe’s modernizing metropolises offered a sensory experience unlike anything that had come before. Cities became laboratories bubbling with aesthetic experimentation in old and new media, and from this milieu emerged metropolitan miniatures—short prose pieces about the experiences of urban life written for European newspapers. Miniature Metropolis explores the history and theory of this significant but misrecognized achievement of literary modernism.
Andreas Huyssen shows how writers from Baudelaire and Kafka to Benjamin, Musil, and Adorno created the miniature to record their reflections of Paris, Brussels, Prague, Vienna, Berlin, and Los Angeles. Contesting photography and film as competing media, the metropolitan miniature sought to capture the visceral feeling of acceleration and compression that defined urban existence. But the form did not merely imitate visual media—it absorbed them, condensing objective and subjective perceptions into the very structure of language and text and asserting the aesthetic specificity of literary language without resort to visual illustration. Huyssen argues that the miniature subverted the expectations of transparency, easy understanding, and entertainment that mass circulation newspapers depended upon. His fine-grained readings open broad vistas into German critical theory and the history of visual arts, revealing the metropolitan miniature to be one of the few genuinely innovative modes of spatialized writing created by modernism.
Two ill-fated rhetoricians.
Antiphon of Athens, born in 480 BC, spent his prime in the great period of Athens but, disliking democracy, was himself an ardent oligarch who with others set up a violent short-lived oligarchy in 411. The restored democracy executed him for treason. He had been a writer of speeches for other people involved in litigation. Of the fifteen surviving works three concern real murder cases. The others are exercises in speechcraft consisting of three tetralogies, each tetralogy comprising four skeleton speeches: accuser’s; defendant’s; accuser’s reply; defendant’s counter-reply.
Andocides of Athens, born ca. 440 BC, disliked the extremes of both democracy and oligarchy. Involved in religious scandal in 415 BC, he went into exile. After at least two efforts to return, he did so under the amnesty of 403. In 399 he was acquitted on a charge of profaning the Mysteries and in 391–390 took part in an abortive peace embassy to Sparta. Extant speeches are: On His Return (a plea on his second attempt); On the Mysteries (a self-defense); On the Peace with Sparta. The speech Against Alcibiades (the notorious politician) is suspect.
Four rhetoricians confronting Macedonian dominance.
This volume collects the speeches of four orators involved in the ill-fated resistance of Athens to the power of Philip and Alexander the Great of Macedon.
Lycurgus of Athens (ca. 396–325 BC) concentrated on domestic affairs, especially financial, which he managed for twelve years, and naval matters. He also constructed and repaired important public buildings. Athens refused to surrender him to Alexander and honored him until his death.
Dinarchus of Corinth (ca. 361–291) as resident alien in Athens became a forensic speaker and also assailed Demosthenes and others. He was accused by Alexander’s runaway treasurer Harpalus of corruption. Dinarchus favored oligarchic government under Macedonian control. He prospered under the regency of Demetrius of Phalerum (317–307), but was exiled after the restoration of democracy, returning circa 292.
Demades of Athens (ca. 380–318) was an able seaman, then unscrupulous politician. He favored Philip, but fought for Athens at Chaeronea (338). Captured there and released by Philip, he helped to make peace, and later influenced Alexander and then Antipater in Athens’ favor. But acceptance of bribes and his tortuous policy ruined him, and he was executed by Antipater.
Hyperides of Athens (ca. 390–322) was a forensic and political speaker who was hostile to Philip and led Athens’ patriots after 325. For resistance to Antipater he ultimately met death by violence. What survives today of his speeches was discovered in the nineteenth century.
A miscellany of mostly imperial verse.
This two-volume anthology covers a period of four and a half centuries, beginning with the work of the mime-writer Publilius Syrus who flourished ca. 45 BC and ending with the graphic and charming poem of Rutilius Namatianus recording a sea voyage from Rome to Gaul in AD 416. A wide variety of theme gives interest to the poems: hunting in a poem of Grattius; an inquiry into the causes of volcanic activity by the author of Aetna; pastoral poems by Calpurnius Siculus and by Nemesianus; fables by Avianus; a collection of Dicta, moral sayings, as if by the elder Cato; eulogy in Laus Pisonis; and the legend of the Phoenix, a poem of the fourth century. Other poets complete the work.
A miscellany of mostly imperial verse.
This two-volume anthology covers a period of four and a half centuries, beginning with the work of the mime-writer Publilius Syrus who flourished ca. 45 BC and ending with the graphic and charming poem of Rutilius Namatianus recording a sea voyage from Rome to Gaul in AD 416. A wide variety of theme gives interest to the poems: hunting in a poem of Grattius; an inquiry into the causes of volcanic activity by the author of Aetna; pastoral poems by Calpurnius Siculus and by Nemesianus; fables by Avianus; a collection of Dicta, moral sayings, as if by the elder Cato; eulogy in Laus Pisonis; and the legend of the Phoenix, a poem of the fourth century. Other poets complete the work.
For most people literary criticism is a mystery that often seems inaccessible, written for an in-group. Even worse, a Battle of the Books has broken out between neoconservatives and neoradicals—all the more reason to steer clear of the fray. Geoffrey Hartman argues that ignoring the culture wars would be unwise, for what is at stake is the nature of the arts we prize and our obligation to remain civil and avoid the apocalyptic tone of most political prophecy.
Hartman’s book is both a survey of the history of modern literary criticism and a strategic intervention. First he presents an account of the culture of criticism in the last one hundred years. He then widens the focus to provide a picture of the critical essay from 1700 to the present in order to show that a major change in style took place after 1950. Two chapters focus on F. R. Leavis and Paul de Man, central—and controversial—figures in academic criticism. Hartman attends to major developments on the continent and in Anglo-American circles that have disrupted the calm of what he calls the friendship or conversational style. On the one hand, critics and thinkers have pursued strange gods in order to enrich and sharpen their critical style. This change Hartman welcomes. On the other hand, along with a renewed interest in politics and historical speculation, a didactic and moralistic tone has again entered the scene. Hartman rejects this new moralism.
The author is an eloquent defender of reading the text of criticism as carefully as the text of literature. He argues for a broader conception of critical style, one that would support the open and conversational voice of the public critic as well as the inventive and innovative practice of the technical critic. Hartman sets before us an ideal of literary criticism that can acknowledge theory yet does not shrink from a sustained, text-centered response. Minor Prophecies is a major book by one of our finest critics.
Short treatises attributed to a great mind.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library edition of Aristotle is in twenty-three volumes.
One of the most powerful poets of his generation consolidates his reputation as an exceptionally forthright and astringent critic in this book that analyzes the relationship between English-language literature, especially poetry, and nineteenth and twentieth-century politics. Tom Paulin's criticism stays on track, always responsive to a work's characteristic genius and sensitive to its social setting.
Each of these essays—on poets ranging from Robert Southey and Christina Rossetti to Philip Larkin, from John Clare to Elizabeth Bishop and Ted Hughes, with a few excursions into the poetry of Eastern Europe for contrast—is informed by a love for poetry and a lively attention to detail. At every turn, Paulin demonstrates the intricate connection between the private imagination and society at large, simultaneously illuminating the kinship between the literature of the past and of the present. He also relates the poetry to themes of nationhood and to ideas about orality, speech rhythms, and vernacular background. Minotaur exemplifies the sort of general, accessible criticism of the arts that will interest a wide range of readers.
Miracles occupied a unique place in medieval and Byzantine life and thought. This volume makes available three collections of miracle tales never before translated into English. Together, the collections offer an exceptional variety of miracles from the Byzantine era.
First are the fifth-century Miracles of Saint Thekla. Legendary female companion of the Apostle Paul, Thekla counted among the most revered martyrs of the early church. Her Miracles depict activities, at once extraordinary and ordinary, in a rural healing shrine at a time when Christianity was still supplanting traditional religion. A half millennium later comes another anonymous text, the tenth-century Miracles of the Spring of the Virgin Mary. This collection describes how the marvelous waters at this shrine outside Constantinople healed emperors, courtiers, and churchmen. Complementing the first two collections are the Miracles of Saint Gregory Palamas, fourteenth-century archbishop of Thessalonike. Written by the most gifted hagiographer of his era (Philotheos Kokkinos), this account tells of miraculous healings that Palamas performed, both while alive and once dead. It allows readers to witness the development of a saint’s cult in late Byzantium. Saints and their miracles were essential components of faith in medieval and Byzantine culture. These collections deepen our understanding of attitudes toward miracles. Simultaneously, they display a remarkable range of registers in which Greek could be written during the still little-known Byzantine period.
In the autobiographical essay, Thomas reveals his passion for his homeland and his ever-present hunger for spiritual and natural exploration:
those rocks, I certainly was reminded of the transience of human existence,
and my own in particular. As Pindar put it: “A dream about a
shadow is man.” I began to ponder more the being and nature of God
and his relation to the late twentieth-century situation, which science and
technology had created in the western world. Where did the ancient
world of rock and ocean fit into an environment in which nuclear physics
and the computer were playing an increasingly prominent part? . . .
The Mirror Diary tracks the emergence of an original poetic voice and a learned consciousness amid multiple and sometimes competing influences of complex literary traditions and regional and ethnic histories. Beginning with a literary inquiry into the history of Japanese Americans in Hawai`i and California, Garrett Hongo draws on his own history to consider the mosaic of American identities—personal, cultural, and poetic—in the context of a postmodern diaspora.
Hongo’s essays attest to the breadth of what he considers his cultural inheritance and literary antecedents, ranging from the poets of China’s T’ang Dynasty to American poets such as Walt Whitman and Charles Olson. He explains free-verse prosody by way of John Coltrane’s jazz; praises his contemporaries, poets David Mura, Edward Hirsch, and Mark Jarman; and acknowledges his mentors, Bert Meyers and Charles Wright. In other pieces he engages with controversies and contestations in contemporary Asian American literature, confronts the politics of race and the legacy of Japanese American internment during World War II, offers paeans to the Hawaiian landscape, and addresses immigrants newly arrived in America with a warm welcome. The Mirror Diary is the work of a poet fully engaged with contemporary politics and poetics and committed to the study and celebration of diverse traditions.
Egnal’s lively exploration of the changing economy, fiction, art, and American values is organized into four expansive periods—the Sentimental Era, Genteel America, Modern Society, and Post-Modern America. Within that framework, A Mirror for History looks at topics such as masculinity, childhood, the status of women, the outlook of African Americans, the role of religion, and varying views of capitalism.
Readers will be enthralled to find discussions of overlooked novels and paintings as well as discover new approaches to familiar pieces. A Mirror for History examines over one hundred authors and dozens of artists and their works, presented here in full color.
In a striking departure from previous scholarship, Scott Lucas shows that modern critics have misconstrued the purpose of the tragic verse narratives of the Mirror, approaching them primarily as uncontroversial meditations on abstract political and philosophical doctrines. Lucas revises this view, revealing many of the Mirror tragedies to be works topically applicable in form and politically contentious in nature.
Lucas returns the earliest poems of A Mirror for Magistrates to the troubled context of their production, the tumultuous reign of the Catholic Queen Mary (1553–1558). As Protestants suffering from the traumatic collapse of King Edward VI's "godly" rule (1547–1553) and from the current policies of Mary's government, the Mirror authors radically reshaped their poems' historical sources in order to craft emotionally moving narratives designed to provide models for interpreting the political failures of Edward VI's reign and to offer urgent warnings to Marian magistrates.
Lucas's study also reveals how, in later poems, the Mirror authors issued oblique appeals to Queen Elizabeth's officers, boldly demanding that they allow the realm of "the literary" to stand as an unfettered discursive arena of public controversy. Lucas thus provides a provocative new approach to this seminal but long-misunderstood collection, one that restores the Mirror to its rightful place as one of the greatest works of sixteenth-century English political literature.
Mirror of Dew introduces one of Iran's outstanding female poets, whose work has not previously been available in English. Zhāle Qā'em-Maqāmi (1883-1946) was a witness to pivotal social and political developments in Iran during its transition to modernity. Persian poetry at that time was often used polemically and didactically, for a mass audience, but Zhāle did not write to be published. The poems, like the mirror, samovar, and other familiar objects we find in them, appear to be the author's intimate companions.
Her poetry is deeply personal but includes social critique and offers a rare window into the impact of a modern awareness on private lives. Zhāle is biting in her condemnation of traditional Persian culture, and even of aspects of Islamic law and custom. She might be called the Emily Dickinson of Persian poetry, although Zhāle was married, against her will. Zhāle is far from the first female poet in Persian literature but is the first we know of to write with an interior, intimate voice about private life, her anxieties, her frustrated love, her feelings about her husband, and many topical issues. This volume presents the Persian text of Zhāle's poems on pages facing the English translations.
Weaving together literary theory, philosophy, and social history, Bartsch traces this complex notion of self from Plato’s Greece to Seneca’s Rome. She starts by showing how ancient authors envisioned the mirror as both a tool for ethical self-improvement and, paradoxically, a sign of erotic self-indulgence. Her reading of the Phaedrus, for example, demonstrates that the mirroring gaze in Plato, because of its sexual possibilities, could not be adopted by Roman philosophers and their students. Bartsch goes on to examine the Roman treatment of the ethical and sexual gaze, and she traces how self-knowledge, the philosopher’s body, and the performance of virtue all played a role in shaping the Roman understanding of the nature of selfhood. Culminating in a profoundly original reading of Medea, The Mirror of the Self illustrates how Seneca, in his Stoic quest for self-knowledge, embodies the Roman view, marking a new point in human thought about self-perception.
Bartsch leads readers on a journey that unveils divided selves, moral hypocrisy, and lustful Stoics—and offers fresh insights about seminal works. At once sexy and philosophical, The Mirror of the Self will be required reading for classicists, philosophers, and anthropologists alike.
The Other Voice in Early Modern Europe - The Toronto Series: Volume 62
The premier scholar-poet of the Hellenistic age.
Callimachus (ca. 303–ca. 235 BC), a proud and well-born native of Cyrene in Libya, came as a young man to the court of the Ptolemies at Alexandria, where he composed poetry for the royal family; helped establish the Library and Museum as a world center of literature, science, and scholarship; and wrote an estimated 800 volumes of poetry and prose on an astounding variety of subjects, including the Pinakes, a descriptive bibliography of the Library’s holdings in 120 volumes. Callimachus’ vast learning richly informs his poetry, which ranges broadly and reworks the language and generic properties of his predecessors in inventive, refined, and expressive ways. The “Callimachean” style, combining learning, elegance, and innovation and prizing brevity, clarity, lightness, and charm, served as an important model for later poets, not least at Rome for Catullus, Virgil, Horace, Ovid, and the elegists, among others.
This edition, which replaces the earlier Loeb editions by A. W. Mair (1921) and C. A. Trypanis (1954, 1958), presents all that currently survives of and about Callimachus and his works, including the ancient commentaries (Diegeseis) and scholia. Volume I contains Aetia, Iambi, and lyric poems; Volume II Hecale, Hymns, and Epigrams; and Volume III miscellaneous epics and elegies, other fragments, and testimonia, together with concordances and a general index. The Greek text is based mainly on Pfeiffer’s but enriched by subsequently published papyri and the judgment of later editors, and its notes and annotation are fully informed by current scholarship.
Powell begins with a section on the British, exploring his fascination both with genealogy and with figures like John Aubrey, and writing in depth about writers like Kipling, Conrad, and Hardy. The second section, on America, also opens with discussions of family trees (in this case presidential ones) and includes pieces on Henry James, James Thurber, American booksellers in Paris, Hemingway, and Dashiell Hammett. Personal encounters, and absorbing incidents from the lives of his subjects, frequently fill these pages—as they do even more in the section on Powell's contemporaries—Connolly, Orwell, Graham Greene, and others. Finally, and aptly, the book closes with a section on Proust and matters Proustian, including a marvellous essay on what is eaten and drunk, and by whom, in A la Recherche du Temps Perdu.
"An urbane book, quietly erudite, very sensible, highly civilized, remarkably useful."—Anthony Burgess, Observer
"An acute intelligence and fastidious sense of humor make [Powell] the funniest and most profound living writer of the English language."—Hugh Montgomery-Massingberd, Sunday Telegraph
Anthony Powell was born in London in 1905. He is the author of seven novels, a biography of John Aubrey, two plays, a collection of memoirs, and the twelve-volume novel sequence Dance to the Music of Time.
An Open Letters Review Best Book of the Year
Angelo Poliziano (1454–1494) was one of the great scholar-poets of the Italian Renaissance and the leading literary figure of Florence in the age of Lorenzo de’ Medici, “il Magnifico.” The poet’s Miscellanies, including a “first century” published in 1489 and a “second century” unfinished at his death, constitute the most innovative contribution to classical philology of the Renaissance. Each chapter is a mini-essay on some lexical or textual problem which Poliziano, drawing on the riches of the Medici Library and Lorenzo’s collection of antiquities, solves with his characteristic mixture of deep learning, analytic skill, and brash criticism of his predecessors. Volume 1 presents a new Latin edition of The First Century of the Miscellanies, and these volumes together present the first translation of both collections into any modern language.
An Open Letters Review Best Book of the Year
Angelo Poliziano (1454–1494) was one of the great scholar-poets of the Italian Renaissance and the leading literary figure of Florence in the age of Lorenzo de’ Medici, “il Magnifico.” The poet’s Miscellanies, including a “first century” published in 1489 and a “second century” unfinished at his death, constitute the most innovative contribution to classical philology of the Renaissance. Each chapter is a mini-essay on some lexical or textual problem which Poliziano, drawing on the riches of the Medici Library and Lorenzo’s collection of antiquities, solves with his characteristic mixture of deep learning, analytic skill, and brash criticism of his predecessors. Volume 1 presents a new Latin edition of The First Century of the Miscellanies, and these volumes together present the first translation of both collections into any modern language.
In many examples of rare erotic fiction, and in other works as well-known as Dream of the Red Chamber, Keith McMahon identifies a sexual economy defined by the figures of the "miser" and the "shrew"—caricatures of the retentive, self-containing man and the overflowing, male-enervating woman. Among these and other characters, the author explores the issues surrounding the practice of polygamy, the logic of its overvaluation of masculinity, and the nature of sexuality generally in Chinese society. How does the man with many wives manage and justify his sexual authority? Why and how might he escape or limit this presumed authority, sometimes to the point of portraying himself as abject before the shrewish woman? How do women accommodate or coddle the man, or else oppose, undermine, or remold him? And in what sense does the man place himself lower than the spiritually and morally superior woman?
The most extensive English-language study of Chinese literature from the eighteenth century, this examination of polygamy will interest not only students of Chinese history, culture, and literature but also all those concerned with histories of gender and sexuality.
The Misfit of the Family is a compelling argument that Balzac must be taken seriously as a major inventor and purveyor of new tools for analyzing connections between the sexual and the social. Lucey’s account of the novelist’s deployment of "sexual misfits" to impel a wide range of his most canonical works—Cousin Pons, Cousin Bette, Eugenie Grandet, Lost Illusions, The Girl with the Golden Eyes—demonstrates how even the flexible umbrella term "queer" barely covers the enormous diversity of erotic and social behaviors of his characters. Lucey draws on the thinking of Michel Foucault and Pierre Bourdieu and engages the work of critics of nineteenth-century French fiction, including Naomi Schor, D. A. Miller, Franco Moretti, and others. His reflections on Proust as Balzac’s most cannily attentive reader suggest how the lines of social and erotic force he locates in Balzac’s work continued to manifest themselves in twentieth-century writing and society.
During the years leading up to her marriage with Leonard Woolf in 1912, the year in which she finished The Voyage Out and sent it to be published by her cousin at Duckworth’s, the future Virginia Woolf was teaching herself how to be a writer. While her brothers were sent first to private schools, then to Cambridge to be educated, Virginia Stephen and her sister Vanessa were informally educated at home. With this background, how did she know she was a writer? What were her struggles? How did she teach herself? What made Miss Stephen into the author Virginia Woolf?
Miss Stephen’s Apprenticeship explores these questions, delving into Virginia Woolf ’s letters and diaries, seeking to understand how she covered the distance from the wistful “I only wish I could write,” to the almost casual statement, “the novels are finished.” These days, the trajectory of a writer very often starts with studying for an MFA. In Woolf ’s case, however, it’s instructive to ask: How did a great writer, who had no formal education, invent for herself the framework she needed for a writing life? How did she know what she had to learn? How did she make her own way?
Novelist Rosalind Brackenbury explores these questions and others, and in the process reveals what Virginia Woolf can give to young writers today.
By the close of the nineteenth century, many poets had abandoned rhyme and meter in favor of “free verse.” Nearly one hundred years later, a growing number of younger poets are reclaiming traditional conventions of prosody by composing rhymed and measured poetry.
Missing Measures is the first full articulation of the aesthetics of this new movement. Timothy Steele, one of the best of those poets who are sometimes called the “New Formalists,” treats his subject against a backdrop of the long history of ideas about poetry, formulated first by the ancients and re-examined and re-interpreted by subsequent writers.
Steele offers a new perspective on the wholesale departure from tradition proclaimed in modernist critical justifications. A rare marriage of clear writing, careful scholarship, and bold thinking, Missing Measures provides a vital new movement with a critical manifesto.
Missionary Cosmopolitanism identifies the nineteenth-century novel as thematically and formally attuned to the tension between missionaries’ cosmopolitan values and the moral impoverishment of their imperialist and expansionist practices. Werner’s chapters interact with canonical works such as Charlotte Brontë’s Jane Eyre and Charles Dickens’s Bleak House, along with lesser-known works by Robert Southey and Sydney Owenson. Ultimately, Missionary Cosmopolitanism demonstrates that nineteenth-century literature both illustrated and helped define missionary discourses regarding cosmopolitan ideas, showing how global evangelicalism continues to tap into the “new cosmopolitanisms” of today.
More broadly, Alexandar Mihailovic shows, the Mitki pioneered a form of political protest art that has since become a centerpiece of activism in post-Soviet Russia, most visibly today in groups such as Pussy Riot. He draws on extensive interviews with members of the collective and illuminates their critique of the authoritarian state, militarism, and social strictures from the Brezhnev years to the present.
The essays in this collection contend with the multitude of ways that racial mixedness has been presented in superhero comics, films, television, and literature. They explore how superhero media positions mixed-race characters within a genre that has historically privileged racial purity and propagated images of white supremacy. The book considers such iconic heroes as Superman, Spider-Man, and The Hulk, alongside such lesser-studied characters as Valkyrie, Dr. Fate, and Steven Universe. Examining both literal and symbolic representations of racial mixing, this study interrogates how we might challenge and rewrite stereotypical narratives about mixed-race identity, both in superhero media and beyond.
Over the last five centuries, the story of the Americas has been a story of the mixing of races and cultures. Not surprisingly, the issue of miscegenation, with its attendant fears and hopes, has been a pervasive theme in New World literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.
This book takes up the challenge of transforming American literary and cultural studies into a comparative discipline by examining the dynamics of racial and cultural mixture and its opposite tendency, racial and cultural disjunction, in the literatures of the Americas. Editors Kaup and Rosenthal have brought together a distinguished set of scholars who compare the treatment of racial and cultural mixtures in literature from North America, the Caribbean, and Latin America. From various angles, they remap the Americas as a multicultural and multiracial hemisphere, with a common history of colonialism, slavery, racism, and racial and cultural hybridity.
In this study, Robert D. Aguirre provides bold new interpretations of Anthony Trollope, John Lloyd Stephens, and Eadweard Muybridge and also recovers information about literary communities previously lost to history. Mobility and Modernity shows how Panama became defined as a site of incipient globalization and a crucial link of empire. Across this narrow strip of land people and things traveled, technology developed, and political forces erupted. The isthmus became a site of mobility that paradoxically produced varieties of immobility. Parting ways with histories that celebrate the canal as a mighty engineering feat, Mobility and Modernity reveals a more complex story of cultural conflict that began with the first gold rush news in the late 1840s and continued throughout the century.
Behind the façade of unity, the French intelligentsia was riven by the same fundamental divisions that had characterized it before the war. For example, the Republican Left argued that German nationalism and militarism began after Kant, with Fichte or Hegel, while the Catholic and nationalistic reactionary Right denounced Kant as the evil inspiration of France's liberal democracy and public school system. The heated rhetoric of the war and the unbearable loss of young lives, says Hanna, lent weight to a redefinition of French culture in national terms—and this, ironically, ended in the cultural conservatism of Vichy France.
This is the first study of the power of French pens and words during and after the Great War. It is a contribution to French and European history as well as to intellectual history.
Literary scholars, educators, and those interested in southern literature will appreciate the new light this publication sheds on a classic American novel. Mockingbird Grows Up offers a deeper understanding of a canonical American work and prepares a new generation to engage with Harper Lee’s appealing prose, complex characters, and influential metaphors.
How often does a novel earn its author both the Presidential Medal of Freedom, awarded to Harper Lee by George W. Bush in 2007, and a spot on a list of “100 best gay and lesbian novels”? Clearly, To Kill a Mockingbird, Lee’s Pulitzer Prize–winning tale of race relations and coming of age in Depression-era Alabama, means many different things to many different people. In Mockingbird Passing, Holly Blackford invites the reader to view Lee’s beloved novel in parallel with works by other iconic American writers—from Emerson, Whitman, Stowe, and Twain to James, Wharton, McCullers, Capote, and others. In the process, she locates the book amid contesting literary traditions while simultaneously exploring the rich ambiguities that define its characters.
Blackford finds the basis of Mockingbird’s broad appeal in its ability to embody the mainstream culture of romantics like Emerson and social reform writers like Stowe, even as alternative canons—southern gothic, deadpan humor, queer literatures, regional women’s novels—lurk in its subtexts. Central to her argument is the notion of “passing”: establishing an identity that conceals the inner self so that one can function within a closed social order. For example, the novel’s narrator, Scout, must suppress her natural tomboyishness to become a “lady.” Meanwhile, Scout’s father, Atticus Finch, must contend with competing demands of thoughtfulness, self-reliance, and masculinity that ultimately stunt his effectiveness within an unjust society. Blackford charts the identity dilemmas of other key characters—the mysterious Boo Radley, the young outsider Dill (modeled on Lee’s lifelong friend Truman Capote), the oppressed victim Tom Robinson—
in similarly intriguing ways. Queer characters cannot pass unless, like the narrator, Miss Maudie, and Cal, they split into the “modest double life.”
In uncovering To Kill a Mockingbird’s lively conversation with a diversity of nineteenth- and twentieth-century writers and tracing the equally diverse journeys of its characters, Blackford offers a myriad of fresh insights into why the novel has retained its appeal for so many readers for over fifty years. At once Victorian, modern, and postmodern, Mockingbird passes in many canons.
Holly Blackford, an associate professor of English at Rutgers University–Camden, has published extensively in the fields of American literature and children’s literature.
Navigating deftly among historical and literary readings, Cathy Schlund-Vials examines the analogous yet divergent experiences of Asian Americans and Jewish Americans in Modeling Citizenship. She investigates how these model minority groups are shaped by the shifting terrain of naturalization law and immigration policy, using the lens of naturalization, not assimilation, to underscore questions of nation-state affiliation and sense of belonging.
Modeling Citizenship examines fiction, memoir, and drama to reflect on how the logic of naturalization has operated at discrete moments in the twentieth century. Each chapter focuses on two exemplary literary works. For example, Schlund-Vials shows how Mary Antin's Jewish-themed play The Promised Land is reworked into a more contemporary Chinese American context in Gish Jen's Mona in the Promised Land.
In her compelling analysis, Schlund-Vials amplifies the structural, cultural, and historical significance of these works and the themes they address.
In this account, political economy and the novel clearly arise as solutions to a crisis in the notion of value. Exploring the ways in which these different genres responded to the crisis—political economy by reconceptualizing wealth as capital, and the novel by refiguring intrinsic or human worth in the form of courtship narratives—Thompson rereads several literary works, including Defoe’s Roxana, Fielding’s Tom Jones, and Burney’s Cecilia, along with influential contemporary economic texts. Models of Value also traces the discursive consequences of this bifurcation of value, and reveals how history and theory participate in the very novelistic and economic processes they describe. In doing so, the book bridges the opposition between the interests of Marxism and feminism, and the distinctions which, newly made in the eighteenth century, continue to inform our discourse today.
An important reformulation of the literary and cultural production of the eighteenth century, Models of Value will attract students of the novel, political economy, and of literary history and theory.
The Modern Age examines the discourses that have come to characterize adolescence and argues that commonplace views of adolescents as impulsive, conflicted, and rebellious are constructions inspired by broader cultural anxieties that characterized American society in early-twentieth-century America.
The idea of adolescence, argues Kent Baxter, came into being because it fulfilled specific historical and cultural needs: to define a quickly expanding segment of the population, and to express concerns associated with the movement into a new era. Adolescence—a term that had little currency before 1900 and made a sudden and pronounced appearance in a wide variety of discourses thereafter—is a “modern age” not only because it sprung from changes in American society that are synonymous with modernity, but also because it came to represent all that was threatening about “modern life.”
Baxter provides a preliminary history of adolescence, focusing specifically on changes in the American educational system and the creation of the juvenile justice system that carved out a developmental space between the child and the adult. He looks at the psychological works of G. Stanley Hall and the anthropological works of Margaret Mead and explores what might have inspired their markedly negative descriptions of this new demographic. He examines the rise of the Woodcraft Indian youth movement and its promotion of “red skin” values while also studying the proliferation of off-reservation boarding schools for Native American youth, where educators attempted to eradicate the very “red skin” values promoted by the Woodcraft movement.
Finally Baxter studies reading at the turn of the century, focusing specifically on Horatio Alger (the Ragged Dick series) and Edward Stratemeyer (the Tom Swift, Nancy Drew, and Hardy Boys series) and what those works reveal about the “problem” of adolescence and its solutions in terms of value, both economic and moral.
Politics, the workings of government and of people in government, has long been a fertile field for exploration by the novelist. The political arena offers many examples of conflict—between individuals, groups, or the individual and the group, or within the individual. It is natural then that a sizable body of fiction has grown up using politics as a main source of action.
In this study Joseph Blotner attempts "to discover the image of American poIitics as presented in American novels over a sixty-year span." His major discussion is limited to 138 novels dealing directly with candidates, officeholders, party officials, or "individuals performing political acts as they are conventionally understood." He also refers to nineteenth-century predecessors, European analogues, or other twentieth-century American novels as they bear on his discussions.
Blotner gives a thorough examination of certain archetypal figures (the young hero, the political boss, and the Southern demagogue), which appear in central or subordinate positions in the action of many political novels. He finds that the novels reflect certain major movements or upheavals in the political history of the United States or the world (in particular, fascism and McCarthyism), and that they also give the political aspects of universal attitudes or problems (corruption, disillusionment, reaction, and the role of women and of the intellectual). The author presents a detailed analysis of each of these subjects, prefacing each analysis by a survey of the historical background out of which the fiction grew, and including a brief and often pungent assessment of the literary merits of each novel discussed. He also surveys a large body of political fiction which cuts across all of these categories: the novel of the future—both utopian and apocalyptic.
The Modern American Political Novel will be of great interest to the student of twentieth-century literature; the political scientist, the sociologist, and even the practicing politician will also find its analyses useful and illuminating.
Booth traces the consequences of modernist assumptions through a wide range of inquiry and action: in politics, art, music, literature, and in personal efforts to find "identity" or a "self." In casting doubt on systematic doubt, the author finds that the dogmas are being questioned in almost every modern discipline. Suggesting that they be replaced with a rhetoric of "systematic assent," Booth discovers a vast, neglected reservoir of "good reasons"—many of them known to classical students of rhetoric, some still to be explored. These "good reasons" are here restored to intellectual respectability, suggesting the possibility of widespread new inquiry, in all fields, into the question, "When should I change my mind?"
Magic, Simon During suggests, has helped shape modern culture. Devoted to this deceptively simple proposition, During's superlative work, written over the course of a decade, gets at the aesthetic questions at the very heart of the study of culture. How can the most ordinary arts--and by "magic," During means not the supernatural, but the special effects and conjurings of magic shows--affect people?
Modern Enchantments takes us deeply into the history and workings of modern secular magic, from the legerdemain of Isaac Fawkes in 1720, to the return of real magic in nineteenth-century spiritualism, to the role of magic in the emergence of the cinema. Through the course of this history, During shows how magic performances have drawn together heterogeneous audiences, contributed to the molding of cultural hierarchies, and extended cultural technologies and media at key moments, sometimes introducing spectators into rationality and helping to disseminate skepticism and publicize scientific innovation. In a more revealing argument still, Modern Enchantments shows that magic entertainments have increased the sway of fictions in our culture and helped define modern society's image of itself.
In Modern Hamlets and Their Soliloquies (Iowa, 1992), Mary Maher examined how modern actors have chosen to perform Hamlet’s soliloquies, and why they made the choices they made, within the context of their specific productions of the play.
Adding to original interviews with, among others, Derek Jacobi, David Warner, Kevin Kline, and Ben Kingsley, Modern Hamlets and Their Soliloquies: An Expanded Edition offers two new and insightful interviews, one with Kenneth Branagh, focusing on his 1997 film production of the play, and one with Simon Russell Beale, discussing his 2000-2001 run as Hamlet at the Royal National Theatre.
Beliefs, superstitions, and tales about luck are present across all human cultures. Humans are perennially fascinated by luck and by its association with happiness and danger, uncertainty and aspiration. Yet it remains an elusive, ungraspable idea, one that slips and slides over time: all cultures reimagine what luck is and how to tame it at different stages in their history, and our own era is no exception to the rule.
Modern Luck sets out to explore the enigma of luck’s presence in modernity, examining the hybrid forms it has taken on in the modern imagination, and in particular in the field of modern stories. Analyzing a rich and unusually eclectic range of narratives taken from literature, film, music, television, and theatre, from Dostoevsky to Philip K. Dick, Pinocchio to Cimino, Curtiz to Kieslowski, it lays out first the usages and meanings of the language of luck, and then the key figures, patterns, and motifs that govern the stories told about it, from the late nineteenth century to the present day.
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