A SCHOLARLY BOOK REPOSITORY648 start with P start with P
During his brief and sorrowful career William Collins wrote a handful of enduring poems, the most powerful and innovative verse of the Age of Sensibility. This study traces Collins' struggle to assimilate or transcend rather than to be overwhelmed by the influence of his Sublime precursor Milton. Collins' achievement is remarkably diverse, his restless experimentation a manifestation of the quest for imaginative autonomy which is the dominant impulse of all his writing. Authoritatively and eloquently, Sherwin interprets Collins' major works including the "Ode to Evening," the poem in which Milton's presence is most enriching, the "Ode on the Poetical Character," "The Passions," "Popular Superstitions Ode," and the "Ode to Fear," Collins' most haunting and painfully burdened poem.
Although Harold Bloom and other prominent theorists of literary influence have recognized that Milton is the chief "daemonic" precursor of the Sensibility poets and the Romantics, Precious Bane represents the first extensive analysis of Milton's power both to daunt and emancipate an aspirant to the Sublime tradition. Bloom writes:
"Paul Sherwin's Precious Bane is at once the definitive study of the poetry of William Collins and also the best informed, most critically acute book yet written upon the Miltonic influence on subsequent poetry. Sherwin's deep learning and original insights illuminate Milton and Keats quite as much as they do Collins and the other tragic poets of Sensibility.
"Readers who seek rich speculation and advanced knowledge on such associated critical and historical problems as Romanticism, the Sublime mode, the agonies of poetic incarnation, and the relation of psychoanalysis to literature, will find abundant recompense in Sherwin's pages. No one in the future will teach, read or write about Collins, or the burdens of Miltonic influence, without starting from Sherwin's achievement."
“Precious volumes,” or pao-chüan, were produced by popular sects in the Ming and early Qing dynasties. These scriptures were believed to have been divinely revealed to sect leaders and contain teachings and ritual instructions that provide valuable information about a lively and widespread religious tradition outside mainstream Confucianism, Taoism, and Buddhism. Largely neglected until now, they testify to the imagination and devotion of popular religious leaders.
This book, the most detailed and comprehensive study of pao-chüan in any language, studies 34 early examples of this literature in order to understand the origins and development of this textual tradition. Although the work focuses on content and structure, it also treats the social context of these works as well as their transmission and ritual use.
literature through empiricism, idealism, and romanticism. Berman demonstrates how
modern social, political, and scientific developments -- including capitalism, socialism,
humanism, psychoanalysis, fascism, and modernism itself -- have altered attitudes toward
time, space, self, creativity, the natural world, and community. "Deserves careful study."
-- Choice
Plato’s frontal attack on poetry has always been a problem for sympathetic students, who have often minimized or avoided it. Beginning with the premise that the attack must be taken seriously, Eric Havelock shows that Plato’s hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought.
The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction—Mr. Havelock shows how the Iliad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative.
The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.
When Tony Tanner died in 1998, the world lost a critic who was as sensitive a reader of Jane Austen as he was of Thomas Pynchon, and who wrote with a warmth and clarity that belied his fluency in literary theory.
In the final ten years of his life Tanner tackled the largest project any critic in English can take on—writing a preface to each of Shakespeare’s plays. This collection serves as a comprehensive introduction for the general reader, the greatest and perhaps the last in the line of great introductions to Shakespeare written by such luminaries as Samuel Johnson and Samuel Taylor Coleridge. Tanner brings Shakespeare to life, explicating everything from big-picture issues such as the implications of shifts in Elizabethan culture to close readings of Shakespeare’s deployment of complex words in his plays.
Although these prefaces are written for a general audience, there is much value for the scholar as well. Tanner introduces some of the most significant recent and historical scholarship on Shakespeare to show the reader how certain critics frame large issues in a useful way. This scholarly generosity permits Johnson, Hazlitt, Emerson, Thoreau, Ruskin, Pater, and many others to enter into conversation. The Independent said of the project, “All of Tanner’s life and education had prepared him for this task and the results are magnificent—both accessible and erudite.”
In Pregnancy in the Victorian Novel—the first book-length study of the topic—Livia Arndal Woods traces the connections between literary treatments of pregnancy and the medicalization of pregnancy and childbirth occurring over the long nineteenth century. Woods uses the problem of pregnancy in the Victorian novel (in which pregnancy is treated modestly as a rule and only rarely as an embodied experience) to advocate for “somatic reading,” a practice attuned to impressions of the body on the page and in our own messy lived experiences.
Examining works by Emily Brontë, Charlotte Mary Yonge, Anthony Trollope, George Eliot, Thomas Hardy and others, Woods considers instances of pregnancy that are tied to representations of immodesty, poverty, and medical diagnosis. These representations, Woods argues, should be understood in the arc of Anglo-American modernity and its aftershocks, connecting backward to early modern witch trials and forward to the criminalization of women for pregnancy outcomes in twenty-first-century America. Ultimately, she makes the case that by clearing space for the personal and anecdotal in scholarship, somatic reading helps us analyze with uncertainty rather than against it and allows for richer and more relevant textual interpretation.
Explores pioneering works of digital poetry and demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse
For the last five decades, poets have had a vibrant relationship with computers and digital technology. This book is a documentary study and analytic history of digital poetry that highlights its major practitioners and the ways that they have used technology to foster a new aesthetic. Focusing primarily on programs and experiments produced before the emergence of the World Wide Web in the mid-1990s, C. T. Funkhouser analyzes numerous landmark works of digital poetry to illustrate that the foundations of today’s most advanced works are rooted in the rudimentary generative, visual, and interlinked productions of the genre’s prehistoric period.
Since 1959, computers have been used to produce several types of poetic output, including randomly generated writings, graphical works (static, animated, and video formats), and hypertext and hypermedia. Funkhouser demonstrates how hardware, programming, and software have been used to compose a range of new digital poetic forms. Several dozen historical examples, drawn from all of the predominant approaches to digital poetry, are discussed, highlighting the transformational and multi-faceted aspects of poetic composition now available to authors. This account
includes many works, in English and other languages, which have never before been presented in an English-language publication.
In exploring pioneering works of digital poetry, Funkhouser demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse. As a history of early digital poetry and a record of an era that has passed, this study aspires both to influence poets working today and to highlight what the future of digital poetry may hold.
"Poetry does not impose, it exposes itself," wrote Paul Celan. Werner Hamacher's investigations into crucial texts of philosophical and literary modernity show that Celan's apothegm is also valid for the structure of understanding and for language in general. "Subject position" is widely invoked today, yet Hamacher is the first to thoroughly investigate the premises for this invocation. He demonstrates that the promise of a subject position is not only unavoidable--and thus produces more and more fundamentalisms--but is also unattainable and therefore always open to innovation, revision, and unexpected transformation. In a book that is both philosophical and literary, Hamacher gives us the fullest account of the vast disruption in the very nature of our understanding that was first unleashed by Kant's critique of human subjectivity.
In light of the double nature of every premise--that it is promised but never attainable--Hamacher gives us nine decisive themes, topics, and texts of modernity: the hermeneutic circle in Schleiermacher and Heidegger, the structure of ethical commands in Kant, Nietzsche's genealogy of moral terms and his exploration of the aporias of singularity, the irony of reading in de Man, the parabasis of language in Schlegel, Kleist's disruption of narrative representation, the gesture of naming in Benjamin and Kafka, and the incisive caesura that Paul Celan inserts into temporal and linguistic reversals.
There is no book that so fully brings the issues of both critical philosophy and critical literature into reach.
Holsinger shows that the preoccupation with medieval cultures and practices among Bataille, Derrida, Lacan, Barthes, Bourdieu, and their cohorts was so wide ranging that it merits recognition as one of the most significant epiphenomena of postwar French thought. Not simply an object of nostalgic longing or an occasional source of literary exempla, the medieval epoch was continually mined by these thinkers for specific philosophical vocabularies, social formations, and systems of thought.
To supplement its master thesis, The Premodern Condition also contains original essays by Bataille and Bourdieu—translated here for the first time into English—that testify in various ways to the strange persistence of medievalisms in French postwar avant-garde writings. What results is an important and original work that will be a touchstone for specialists in medieval studies and critical theory alike.
A Prescription for Adversity makes the revolutionary case that Ambrose Bierce, far from being a bitter misanthrope, was instead both a compassionate and moral author. Berkove, focusing on Bierce's short fiction, establishes the necessity of recognizing the pattern of his intellectual and literary development over the course of his career. The author shows that Bierce, probably the American author with the most extensive experience of the Civil War, turned to classical Stoicism and English and French Enlightenment literature in his postwar search for meaning. Bierce's fiction arose from his ultimately unsatisfying encounters with the philosophies those sources offered, but the moral commitment as well as the literary techniques of heir authors, particularly Jonathan Swift, inspired him. Dating Bierce's fiction, and introducing uncollected journalism, correspondence, and important new literary history and biographical information, Berkove brings new insights to a number of stories, including "A Son of the Gods" and "A Horseman in the Sky," but especially "An Occurrence at Owl Creek Bridge," and presents compelling readings of the Parenticide Club tales and "Moxon's Master." A Prescription for Adversity substantiates how Bierce at his best is one of the few American authors who rises to the level of Mark Twain, and the only one who touches Jonathan Swift.
A work of both biography and literary criticism, this book rescues Ambrose Bierce and his literature from the neglect to which it has been assigned by "ill-founded, obtuse and unproductive approaches based on skewed notions of his personality and forced or facile readings of individual stories."
Adopting research methodologies of revision and recovery, this latest edition includes all new material while still following the format of the original and is constructed around bibliographical surveys of both primary and secondary works addressing the Classical, Medieval, Renaissance, and eighteenth through twentieth century periods within the history of rhetoric. The Present State of Scholarship in the History of Rhetoric doesn’t simply update but rather recasts study in the history of rhetoric.
The authors—experienced and well-known scholars in their respective fields—redefine existing strands of rhetorical study within the periods, expand the scope of rhetorical engagement, and include additional figures and their works. The globalization and expansion of rhetoric are demonstrated in each of these parts and seen clearly in the inclusion of more female rhetors, discussions of historical and contemporary electronic resources, and examinations of rhetorical practices falling outside the academy and the traditional canon.
As programs incorporating rhetorical studies continue to expand at the university level, students and researchers are in need of up-to-date bibliographical resources. No other work matches the scope and approach of The Present State of Scholarship in the History of Rhetoric, which carries scholarship on rhetoric into the twenty-first century.
Lamb contends that European exploration of the South Seas was less confident and mindful than we have assumed. It was, instead, conducted in moods of distraction and infatuation that were hard to make sense of and difficult to narrate, and it prompted reactions among indigenous peoples that were equally passionate and irregular. Preserving the Self in the South Seas also examines these common crises of exploration in the context of a metropolitan audience that eagerly consumed narratives of the Pacific while doubting their truth. Lamb considers why these halting and incredible journals were so popular with the reading public, and suggests that they dramatized anxieties and bafflements rankling at the heart of commercial society.
If we want to rediscover the power of fairy tales—as Armando Maggi thinks we should—we need to discover a new mythic lens, a new way of approaching and understanding, and thus re-creating, the transformative potential of these stories. In Preserving the Spell, Maggi argues that the first step is to understand the history of the various traditions of oral and written narrative that together created the fairy tales we know today. He begins his exploration with the ur-text of European fairy tales, Giambattista Basile’s The Tale of Tales, then traces its path through later Italian, French, English, and German traditions, with particular emphasis on the Grimm Brothers’ adaptations of the tales, which are included in the first-ever English translation in an appendix. Carrying his story into the twentieth century, Maggi mounts a powerful argument for freeing fairy tales from their bland contemporary forms, and reinvigorating our belief that we still can find new, powerfully transformative ways of telling these stories.
In The Presidents We Imagine, Jeff Smith examines the presidency’s ever-changing place in the American imagination. Ranging across different media and analyzing works of many kinds, some familiar and some never before studied, he explores the evolution of presidential fictions, their central themes, the impact on them of new and emerging media, and their largely unexamined role in the nation’s real politics.
Smith traces fictions of the presidency from the plays and polemics of the eighteenth century—when the new office was born in what Alexander Hamilton called “the regions of fiction”—to the digital products of the twenty-first century, with their seemingly limitless user-defined ways of imagining the world’s most important political figure. Students of American culture and politics, as well as readers interested in political fiction and film, will find here a colorful, indispensable guide to the many surprising ways Americans have been “representing” presidents even as those presidents have represented them.
“Especially timely in an era when media image-mongering increasingly shapes presidential politics.”—Paul S. Boyer, series editor
“Smith's understanding of the sociopolitical realities of US history is impressive; likewise his interpretations of works of literature and popular culture. . . .In addition to presenting thoughtful analysis, the book is also fun. Readers will enjoy encounters with, for example, The Beggar's Opera, Duck Soup, Edward Bellamy's Looking Backward, Philip Roth's Plot against America, the comedic campaigns of W. C. Fields for President and Pogo for President, and presidential fictions that continue up to the last President Bush. . . . His writing is fluid and conversational, but every page reveals deep understanding and focus. Summing Up: Highly recommended. All readers.”—CHOICE
In this volume, scholars from a variety of disciplines explore the myriad ways print was used in the Cold War. Looking at materials ranging from textbooks and cookbooks to art catalogs, newspaper comics, and travel guides, they analyze not only the content of printed matter but also the material circumstances of its production, the people and institutions that disseminated it, and the audiences that consumed it. Among the topics discussed are the infiltration of book publishing by propagandists East and West; the distribution of pro-American printed matter in postwar Japan through libraries, schools, and consulates; and the collaboration of foundations, academia, and the government in the promotion of high culture as evidence of the superiority of Western values.
At the same time, many of the qualities that made print the preferred medium of official propaganda also made it an effective instrument for challenging Cold War orthodoxies at home and abroad. Because printed materials were relatively easy to transport, to copy, and to share, they could just as well be used to bridge differences among people and cultures as to exploit them. They also provided a vehicle for disseminating satire and other expressions of dissent.
In addition to the volume editors, contributors include Ed Brunner, Russell Cobb, Laura Jane Gifford, Patricia Hills, Christian Kanig, Scott Laderman, Amanda Laugesen, Martin Manning, Kristin Matthews, Hiromi Ochi, Amy Reddinger, and James Smith. Together their essays move beyond traditional Cold War narratives to gauge the role of a crucial cultural medium in the ideological battle between the superpowers and their surrogates.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Literary thought, or the theory produced by the text, can only function by exploring what escapes dominant representations. The Price of Literature analyzes how certain iconic texts from the nineteenth century (by Mme de Staël, Hugo, Balzac, Flaubert, and Proust) perform a theoretical turn to claim the freedom to represent anything in the world, but also literature’s ability to transform the world it represents. The conclusion advances a new way of thinking about literary scholarship—one based on how literature redistributes ways of writing by lending form to thought.
Along with the plays of William Shakespeare and the works of Charles Dickens, Jane Austen’s novels are among the most beloved books of Western literature. Pride and Prejudice (1813) was in Austen’s lifetime her most popular novel, and it was the author’s personal favorite. Adapted many times to the screen and stage, and the inspiration for numerous imitations, it remains today her most widely read book. Now, in this beautifully illustrated and annotated edition, distinguished scholar Patricia Meyer Spacks instructs the reader in a larger appreciation of the novel’s enduring pleasures and provides analysis of Darcy, Elizabeth Bennet, Lady Catherine, and all the characters who inhabit the world of Pride and Prejudice.
This edition will be treasured by specialists and first-time readers, and especially by devoted Austen fans who think of themselves as Friends of Jane. In her Introduction, Spacks considers Austen’s life and career, the continuing appeal of Pride and Prejudice, and its power as a stimulus for fantasy (Maureen Dowd, writing in the New York Times, can hold forth at length on Obama as a Darcy-figure, knowing full well her readers will “understand that she wished to suggest glamour and sexiness”). Her Introduction also explores the value and art of literary annotation. In her running commentary on the novel, she provides notes on literary and historical contexts, allusions, and language likely to cause difficulty to modern readers. She offers interpretation and analysis, always with the wisdom, humor, and light touch of an experienced and sensitive teacher.
One of the masterpieces of Latin and, indeed, world literature, Virgil's Aeneid was written during the Augustan "renaissance" of architecture, art, and literature that redefined the Roman world in the early years of the empire. This period was marked by a transition from the use of rhetoric as a means of public persuasion to the use of images to display imperial power. Taking a fresh approach to Virgil's epic poem, Riggs Alden Smith argues that the Aeneid fundamentally participates in the Augustan shift from rhetoric to imagery because it gives primacy to vision over speech as the principal means of gathering and conveying information as it recounts the heroic adventures of Aeneas, the legendary founder of Rome.
Working from the theories of French phenomenologist Maurice Merleau-Ponty, Smith characterizes Aeneas as a voyant-visible, a person who both sees and is seen and who approaches the world through the faculty of vision. Engaging in close readings of key episodes throughout the poem, Smith shows how Aeneas repeatedly acts on what he sees rather than what he hears. Smith views Aeneas' final act of slaying Turnus, a character associated with the power of oratory, as the victory of vision over rhetoric, a triumph that reflects the ascendancy of visual symbols within Augustan society. Smith's new interpretation of the predominance of vision in the Aeneid makes it plain that Virgil's epic contributes to a new visual culture and a new mythology of Imperial Rome.
Tony C. Brown examines “the inescapable yet infinitely troubling figure of the not-quite-nothing” in Enlightenment attempts to think about the aesthetic and the savage. The various texts Brown considers—including the writings of Addison, Rousseau, Kant, and Defoe—turn to exotic figures in order to delimit the aesthetic, and to aesthetics in order to comprehend the savage.
In his intriguing exploration Brown discovers that the primitive introduces into the aesthetic and the savage an element that proves necessary yet difficult to conceive. At its most profound, Brown explains, this element engenders a loss of confidence in one’s ability to understand the human’s relation to itself and to the world. That loss of confidence—what Brown refers to as a breach in anthropological security—traces to an inability to maintain a sense of self in the face of the New World. Demonstrating the impact of the primitive on the aesthetic and the savage, he shows how the eighteenth-century writers he focuses on struggle to define the human’s place in the world. As Brown explains, these authors go back again and again to “exotic” examples from the New World—such as Indian burial mounds and Maori tattooing practice—making them so ubiquitous that they come to underwrite, even produce, philosophy and aesthetics.
Although primitivism has received renewed attention in recent years, studies linking it with Latin America have been rare. This volume examines primitivism and its implications for contemporary debates on Latin American culture, literature, and arts, showing how Latin American subjects employ a Western construct to "return the gaze" of the outside world and redefine themselves in relation to modernity.
Examining such subjects as Julio Cortázar and Frida Kahlo and such topics as folk art and cinema, the volume brings together for the first time the views of scholars who are currently engaging the task of cultural studies from the standpoint of primitivism. These varied contributions include analyses of Latin American art in relation to social issues, popular culture, and official cultural policy; essays in cultural criticism touching on ethnic identity, racial politics, women's issues, and conflictive modernity; and analytical studies of primitivism's impact on narrative theory and practice, film, theater, and poetry.
This collection contributes offers a new perspective on a variety of significant debates in Latin American cultural studies and shows that the term primitive does not apply to these cultures as much as to our understanding of them.
CONTENTSParadise Subverted: The Invention of the Mexican Character / Roger Bartra
Between Sade and the Savage: Octavio Paz’s Aztecs / Amaryll Chanady
Under the Shadow of God: Roots of Primitivism in Early Colonial Mexico / Delia Annunziata Cosentino
Of Alebrijes and Ocumichos: Some Myths about Folk Art and Mexican Identity / Eli Bartra
Primitive Borders: Cultural Identity and Ethnic Cleansing in the Dominican Republic / Fernando Valerio-Holguín
Dialectics of Archaism and Modernity: Technique and Primitivism in Angel Rama’s Transculturación narrativa en América Latina / José Eduardo González
Narrative Primitivism: Theory and Practice in Latin America / Erik Camayd-Freixas
Narrating the Other: Julio Cortázar’s "Axolotl" as Ethnographic Allegory / R. Lane Kauffmann
Jungle Fever: Primitivism in Environmentalism; Rómulo Gallegos’s Canaima and the Romance of the Jungle / Jorge Marcone
Primitivism and Cultural Production: Future’s Memory; Native Peoples’ Voices in Latin American Society / Ivete Lara Camargos Walty
Primitive Bodies in Latin American Cinema: Nicolás Echevarría’s Cabeza de Vaca / Luis Fernando Restrepo
Subliminal Body: Shamanism, Ancient Theater, and Ethnodrama / Gabriel Weisz
Primitivist Construction of Identity in the Work of Frida Kahlo / Wendy B. Faris
Mi andina y dulce Rita: Women, Indigenism, and the Avant-Garde in César Vallejo / Tace Megan Hedrick
The lives of Netley Lucas are as flamboyant as they are unlikely. In Prince of Tricksters, Matt Houlbrook picks up the threads of Lucas’s colorful lies and lives. Interweaving crime writing and court records, letters and life-writing, Houlbrook tells Lucas’s fascinating story and, in the process, provides a panoramic view of the 1920s and ’30s. In the restless times after the Great War, the gentlemanly trickster was an exemplary figure, whose tall tales and bogus biographies exposed the everyday difficulties of knowing who and what to trust. Tracing how Lucas both evoked and unsettled the world through which he moved, Houlbrook shows how he prompted a pervasive crisis of confidence that encompassed British society, culture, and politics.
Taking readers on a romp through Britain, North America, and eventually into Africa, Houlbrook confronts readers with the limits of our knowledge of the past and challenges us to think anew about what history is and how it might be made differently.
The Printed Reader explores the transformative power of reading in the eighteenth century, and how this was expressed in the fascination with Don Quixote and in a proliferation of narratives about quixotic readers, readers who attempt to reproduce and embody their readings. Through intersecting readings of quixotic narratives, including work by Charlotte Lennox, Laurence Sterne, George Colman, Richard Graves, and Elizabeth Hamilton, Amelia Dale argues that literature was envisaged as imprinting—most crucially, in gendered terms—the reader’s mind, character, and body. The Printed Reader brings together key debates concerning quixotic narratives, print culture, sensibility, empiricism, book history, and the material text, connecting developments in print technology to gendered conceptualizations of quixotism. Tracing the meanings of quixotic readers’ bodies, The Printed Reader claims the social and political text that is the quixotic reader is structured by the experiential, affective, and sexual resonances of imprinting and impressions.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
"It ranks with Hannah Arendt's Eichmann in Jerusalem in its examination of the totalitarian mind, the role of anti-Semitism, the silence."—Eliot Fremont-Smith, Village Voice
"It is impossible to read this proud and piercing account of [Timerman's] suffering and his battles without wanting to be counted as one of Timerman's friends."—Michael Walzer, New York Review of Books
"Timerman was a living reminder that real prophets are irritants and not messengers of reassurance. He told it like it is, whether in Argentina, Israel, Europe, or the United States."—Arthur Miller
In Prisons, Race, and Masculinity, Peter Caster demonstrates the centrality of imprisonment in American culture, illustrating how incarceration, an institution inseparable from race, has shaped and continues to shape U.S. history and literature in the starkest expression of what W. E. B. DuBois famously termed “the problem of the color line.”
A prison official in 1888 declared that it was the freeing of slaves that actually created prisons: “we had to establish means for their control. Hence came the penitentiary.” Such rampant racism co ntributed to the criminalization of black masculinity in the cultural imagination, shaping not only the identity of prisoners (collectively and individually) but also America’s national character. Caster analyzes the representations of imprisonment in books, films, and performances, alternating between history and fiction to describe how racism influenced imprisonment during the decline of lynching in the 1930s, the political radicalism in the late 1960s, and the unprecedented prison expansion through the 1980s and 1990s. Offering new interpretations of familiar works by William Faulkner, Eldridge Cleaver, and Norman Mailer, Caster also engages recent films such as American History X, The Hurricane, and The Farm: Life Inside Angola Prison alongside prison history chronicled in the transcripts of the American Correctional Association. This book offers a compelling account of how imprisonment has functioned as racial containment, a matter critical to U.S. history and literary study.
In Privacy, Patricia Meyer Spacks explores eighteenth-century concerns about privacy and the strategies people developed to avoid public scrutiny and social pressure. She examines, for instance, the way people hid behind common rules of etiquette to mask their innermost feelings and how, in fact, people were taught to employ such devices. She considers the erotic overtones that privacy aroused in its suppression of deeper desires. And perhaps most important, she explores the idea of privacy as a societal threat—one that bred pretense and hypocrisy in its practitioners. Through inspired readings of novels by Defoe, Richardson, Fielding, and Sterne, along with a penetrating glimpse into diaries, autobiographies, poems, and works of pornography written during the period, Spacks ultimately shows how writers charted the imaginative possibilities of privacy and its social repercussions.
Finely nuanced and elegantly conceived, Spacks's new work will fascinate anyone who has relished concealment or mourned its recent demise.
Buchholz suggests that in their experimental prose Gustav Landauer, Franz Kafka, Thomas Bernhard, and Wolfgang Hilbig each considered how the "void" of mass society could be the precondition for a new, anarchic form of community that would rest not on any assumptions of shared origins or organic unity but on an experience of extreme emptiness that blurs the boundaries of the self and enables intimacy between total strangers. This community, Buchholz argues, is created through the verbal form most closely associated with alienation and isolation: the monologue.
By showing how these authors engaged with the idea of community and by relating these contributions to an extended intellectual genealogy of nihilism, Private Anarchy illustrates the distinct philosophical and sociopolitical stakes of German experimental writing in the twentieth century.
Private Lives, Proper Relations begins with the question of why contemporary African American literature—particularly that produced by black women—is continually concerned with issues of respectability and propriety. Candice M. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture.
In a counterpoint to her paradigmatic reading of Nella Larsen’s Passing, Jenkins’s analysis of black women’s narratives—including Ann Petry’s The Street, Toni Morrison’s Sula and Paradise, Alice Walker’s The Color Purple, and Gayl Jones’s Eva’s Man—offers a theory of black subjectivity. Here Jenkins describes middle-class attempts to rescue the black community from accusations of sexual and domestic deviance by embracing bourgeois respectability, and asserts that behind those efforts there is the “doubled vulnerability” of the black intimate subject. Rather than reflecting a DuBoisian tension between race and nation, to Jenkins this vulnerability signifies for the African American an opposition between two poles of potential exposure: racial scrutiny and the proximity of human intimacy.
Scholars of African American culture acknowledge that intimacy and sexuality are taboo subjects among African Americans precisely because black intimate character has been pathologized. Private Lives, Proper Relations is a powerful contribution to the crucial effort to end the distortion still surrounding black intimacy in the United States.
Candice M. Jenkins is associate professor of English at Hunter College, City University o
"Everyman" as actor on life's stage has been a recurrent theme in popular literature--epecially persuasive in these times of powerful electronic media, celebrity hype, and professional image-makers--but the great Victorians exuded sincerity. Nina Auerbach reminds us that all lives can be subversive performances. Charting the notable impact of the theater and theatricality on the Victorian imagination, she provocatively reexamines the concept of sincerity and authenticity as literary ideal.
In novels, popular fiction, and biographies, Auerbach unveils the theatrical element in lives imagined and represented. Focusing on three major points in the life cycle--childhood, passage to maturity, and death--she demonstrates how the process of living was for Victorians the acting of a role; only dying generated a creature with an "own self." Her discussion draws not only on theater history, but on demonology-the ghosts and monsters so much a part of the nineteenth-century imagination.
Nina Auerbach has written a closely reasoned and stimulating book for everyone interested in the Victorian age, and everyone interested in theatricality---whether private or on the stage.
Defense of a poet, and five speeches from after exile.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Three postconsular speeches.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
The ascending statesman.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Speeches from turbulent times.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
The early speeches.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
The statesman defends a friend and assails an enemy.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Whereas previous critics have explored the relationship between liberalism and the novel by studying the novel's liberal characters, Tucker argues that the liberal subject is represented not merely within the novel, but in the experience of the novel's form as well. With special attention to George Eliot, Henry James, Oliver Wendell Holmes, and S. Y. Abramovitch, Tucker shows how we can understand liberalism and the novel as modes of recognizing and negotiating with history.
In chapters on William Dean Howells, Frank Norris, Mark Twain, Henry James, Stephen Crane, Theodore Dreiser, and Sarah Orne Jewett, Bell examines the effects that ideas about realism and naturalism had on writers. He demonstrates that, for many of them, claiming to be a realist or a naturalist was a way to provide assurance that one was a "real" man rather than an "effeminate" artist.
Peripatetic potpourri.
Aristotle of Stagirus (384–322 BC), the great Greek philosopher, researcher, logician, and scholar, studied with Plato at Athens and taught in the Academy (367–347). Subsequently he spent three years in Asia Minor at the court of his former pupil Hermeias, where he married Pythias, one of Hermeias’ relations. After some time at Mitylene, he was appointed in 343/2 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 the following year.
Problems, the third-longest work in the Aristotelian corpus, contains thirty-eight books covering more than 900 problems about living things, meteorology, ethical and intellectual virtues, parts of the human body, and other topics. Although Problems is an accretion of multiple authorship over several centuries, it offers a fascinating technical view of Peripatetic method and thought. Problems, in two volumes, replaces the earlier Loeb edition by Hett, with a text and translation incorporating the latest scholarship.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BCE, was the son of Nicomachus, a physician, and Phaestis. He studied under Plato at Athens and taught there (367–47); subsequently he spent three years at the court of a former pupil, Hermeias, in Asia Minor and at this time married Pythias, one of Hermeias’s relations. After some time at Mitylene, in 343–2 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; Oeconomica (on the good of the family); Virtues and Vices.
II. Logical: Categories; On Interpretation; Analytics (Prior and Posterior); On Sophistical Refutations; 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. On Art: Art of Rhetoric and Poetics.
VI. Other works including the Athenian Constitution; 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.
Peripatetic potpourri.
Aristotle of Stagirus (384–322 BC), the great Greek philosopher, researcher, logician, and scholar, studied with Plato at Athens and taught in the Academy (367–347). Subsequently he spent three years in Asia Minor at the court of his former pupil Hermeias, where he married Pythias, one of Hermeias’ relations. After some time at Mitylene, he was appointed in 343/2 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 the following year.
Problems, the third-longest work in the Aristotelian corpus, contains thirty-eight books covering more than 900 problems about living things, meteorology, ethical and intellectual virtues, parts of the human body, and other topics. Although Problems is an accretion of multiple authorship over several centuries, it offers a fascinating technical view of Peripatetic method and thought. Both Problems, in two volumes, and Rhetoric to Alexander replace the earlier Loeb edition by Hett and Rackham, with texts and translations incorporating the latest scholarship.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BCE, was the son of Nicomachus, a physician, and Phaestis. He studied under Plato at Athens and taught there (367–47); subsequently he spent three years at the court of a former pupil, Hermeias, in Asia Minor and at this time married Pythias, one of Hermeias’s relations. After some time at Mitylene, in 343–2 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; Oeconomica (on the good of the family); Virtues and Vices.
II. Logical: Categories; On Interpretation; Analytics (Prior and Posterior); On Sophistical Refutations; 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. On Art: Art of Rhetoric and Poetics.
VI. Other works including the Athenian Constitution; 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.
The Harvard Celtic Colloquium was established in 1980 by two graduate students in the Harvard University Department of Celtic Languages and Literatures as a forum in which graduate students could share their work and gain experience in professional academia. Since then, it has been organized annually by a team of students in the department, grown in size, and gained an international reputation which annually draws a diverse mix of scholars from around the world to present papers on all facets of Celtic Studies.
The Harvard Celtic Colloquium is the only conference in the field of Celtic Studies to be wholly organized and run by graduate students. Since its inception, established and internationally-renowned scholars in Celtic as well as graduate students, junior academics, and unaffiliated scholars have been drawn to this dynamic setting, presenting papers on ancient, medieval, and modern topics in the many disciplines relating to Celtic Studies; including literature, linguistics, art, archeology, government, economics, music, and history.
Papers given at the Colloquium may be submitted for review to the organizers of the conference, who become the editors for those papers selected for publication in the Proceedings of the Harvard Celtic Colloquium. Only papers presented at the annual conference are considered for publication.
Harvard University Press is proud to announce that we will distribute the Proceedings of the Harvard Celtic Colloquium. Two new issues are available this Fall: Volume 18/19 (1998 and 1999) and Volume 20/21 (2000 and 2001). Back issues are also available.
Proceedings of the Harvard Celtic Colloquium, 20 includes “Retoiric and Composition in Geneamuin Chormaic,” by Hugh Fogarty; “Classical Ethnography and Celts: Can We Trust the Sources?” by Philip Freeman; “Prayers, Prizefights and Prostitution: The Medieval Irish Cemetery and Its Many Uses,” by Susan Leigh Fry; “Magical Realism and the Mabinogi: An Exercise in Methodology,” by Michael Linkletter; “Rebuke and Revision in the Early Irish Annals: The Death-Notices of Muirchertach mac Ercae [†534],” by Laurence Maney; “‘To a man for the King’: The Allegiance of Welsh Catholics during the First Civil War, 1642–46,” by Robert Matthews; “King and Druid,” by Arun Micheelsen; “‘Words, words, words’: Language about Language in France and Ireland,” by Grace Neville; “Ystoria Tri Brenin o Gwlen,” by Prydwyn Piper; and “Highland Motives in the Jacobite Rising of 1745–46: ‘Forcing Out,’ Traditional Documentation and Gaelic Poetry,” by James A. Stewart, Jr.
Proceedings of the Harvard Celtic Colloquium, 21 includes “Gendering the Vita Prima: An Examination of St. Brigid’s Role as ‘Mary of the Gael,’” by Diane Peters Auslander; “Apollonius of Rhodes’ Argonautica: A Mythology of Greek Expansion in Celtic Lands,” by Timothy P. Bridgman; “The Wealth of the Medieval Welsh Gentry: The Case of Gwilym ap Gruffydd of Penrhyn,” by A. D. Carr; “Celtic Languages in the 1910 U.S. Census,” by Jonathan Dembling; “Digging Deeper: Adventures in Medieval Irish Burial and the Case for Interdisciplinary Scholarship,” by Susan Leigh Fry; “Laoiseach Mac an Bhaird and the Politics of Close Reading,” by Sarah E. McKibben; “Prescient Birds and Prospective Kings: Further Comments on Irish Elements in the Eddic Poem Rígsþula,” by Amy Eichhorn Mulligan; “The Descent of the Gods: Creation, Cosmogony, and Divine Order in Lebor Gabála,” by Sharon Paice Macleod; “Babel Is Come Again: Linguistic Colonisation and the Bardic Response in Early Modern Ireland,” by Patricia Palmer; “‘In Defiance of the Gospel and by Authority of the Devil’: Criticism of Welsh Marriage Law by the English Ecclesiastical Establishment and Its Socio-Political Context,” by Laura Radiker; and “The Way We Were: Twentieth Century Brittany through the Eyes of Breton Language Memorialists,” by Lenora Timm.
Proceedings of the Harvard Celtic Colloquium, 24 includes “The Celticity of Galicia and the Arrival of the Insular Celts,” by Manuel Alberro; “Reading Aislinge Óenguso as a Christian-Platonist Parable,” by Brenda Gray; “Celtic Legends in Irish Opera, 1900–1930,” by Axel Klein; “‘I wonder what the king is doing tonight’—Looking for Arthur in All the Wrong Places,” by Laurance J. Maney†; “What Future for the Irish Gaeltacht Communities in the Twenty-First Century?” by Nollaig Ó Gadhra†; “Acallam Na Senórach as Prosimetrum,” by Geraldine Parsons; “Traditional and Courtly Themes in a Medieval Welsh Elegy to a ‘Góann Wargann Wery’ (‘A Fair Virgin, Meek and Mild’),” by Laura Radiker; and “Welsh Prophetic Poetry in the Age of the Princes,” by Elizabeth Schoales.
Proceedings of the Harvard Celtic Colloquium, 25 includes “Keltoi, Galatai, Galli: Were They All One People?” by Timothy P. Bridgman; “On Verbal Nouns in Celtic Languages,” by Chao Li; “Cross-Linguistic Discourse Markers in Manx Gaelic and English,” by Marie Clague; “The Acallam na Senórach: A Medieval Instruction Manual,” by Annie Donahue; “Gendered Postcolonial Discourse in the Mabinogi,” by Morgan Kay; “Language Death and Resurrection in the Isle of Man: The Continuity of Manx Gaelic Exemplified by the Use of Inflected Verb Tenses,” by Jennifer Kewley Draskau; “High Kings and Pipe Dreams: Revisiting John Vincent Kelleher’s Theory of Revision to the Early Irish Annals,” by Laurance J. Maney†; and “The Rise of Christian Nomenclature in Medieval Scotland,” by David Morris.
Proceedings of the Harvard Celtic Colloquium, 26 includes “Heroic Recycling in Celtic Tradition,” by Joseph F. Nagy; “On the Celtic-American Fringe: Irish–Mexican Encounters in the Texas–Mexico Borderlands,” by Marian J. Barber; “The Encomium Urbis in Medieval Welsh Poetry,” by Helen Fulton; “Prophecy in Welsh Manuscripts,” by Morgan Kay; “‘Ceol agus Gaol’ (‘Music and Relationship’): Memory, Identity, and Community in Boston’s Irish Music Scene,” by Natalie Kirschstein; “Colonization Circulars: Timber Cycles in the Time of Famine,” by Kathryn Miles; “Up Close and Personal: The French in Bantry Bay (1796) in the Bantry Estate Papers,” by Grace Neville; “In Praise of Two Margarets: Two Laudatory Poems by Piaras Feiritéar,” by Deirdre Nic Mhathúna; “Observations on Cross-Cultural Names and Name Patterns in Medieval Wales and the March,” by Laura Radiker; and “Mouth to Mouth: Gaelic Stories as Told within One Family,” by Carol Zall.
Proceedings of the Harvard Celtic Colloquium, 27 includes “Poets and Carpenters: Creating the Architecture of Happiness in Late-Medieval Wales,” by Richard Suggett; “Revisiting Preaspiration: Evidence from the Survey of the Gaelic Dialects of Scotland,” by Anna Bosch; “The Anoetheu Dialogue in Culhwch ac Olwen,” by Fiona Dehghani; “Homophony and Breton Loss of Lexis,” by Francis Favereau; “The Origins of ‘the Jailtacht,’” by Diarmait Mac Giolla Chríost; “A Confluence of Wisdom: The Symbolism of Wells, Whirlpools, Waterfalls and Rivers in Early Celtic Sources,” by Sharon Paice MacLeod; “The Real Charlotte: The Exclusive Myth of Somerville and Ross,” by Donald McNamara; “Language Shift in Early Twentieth-Century Ireland,” by Máire Ní Chiosáin; and “Conceptions of an Urban Ideal and the Early Modern Welsh Town,” by Sally-Anne Shearn.
Proceedings of the Harvard Celtic Colloquium has in its purview all aspects of culture, language, and history of the Celtic peoples, from ancient to modern times.
This volume of PHCC contains articles on medieval Irish, Welsh, and Breton literature; post-1800 to modern poetry in Irish, Welsh, and Scottish Gaelic; the Irish Revival Movement; and modern Irish and Welsh linguistics. The volume also features the 2010 J. V. Kelleher Lecture by Dr. M. Katharine Simms on the social expression of the literary model of the barefoot king in late medieval Ireland.
The Harvard Celtic Colloquium provides a small but international audience for presentations by scholars from all ranks of scholarship and all areas of Celtic Studies. Among the topics covered are the archaeology, history, culture, linguistics, literatures, politics, religion, and social structures of the countries and regions in which Celtic languages are, or were, spoken, as well as their extended influence, from prehistory to the present. The broad range of the conference is reflected in the content of its published proceedings, which will interest both students newly attracted to Celtic Studies and senior scholars in the field.
PHCC, 33 features the annual John V. Kelleher Lecture for 2013, given by Thomas Owen Clancy, Professor of Celtic at the University of Glasgow, Scotland. Clancy discusses connections between Scottish saints’ names and cults and the onomastics of settlements and topographical features gathered and investigated in preparation for a digital atlas project, “Commemoration of Saints in Scottish Place Names.” In addition, PHCC, 33 includes contributions in the areas of Irish, Welsh, and Scottish history, Irish and Welsh literature and poetry, and Irish ecclesiastical learning.
McKee provides close readings of six novels—James’s The Wings of the Dove and The Golden Bowl, Faulkner’s The Sound and the Fury and Light in August, and Morrison’s Sula and Jazz—interspersed with excursions into Lacanian and Freudian theory, critical race theory, epistemology, and theories of visuality. In James and Faulkner, she finds, race is represented visually through media that highlight ways of seeing and being seen. Written in the early twentieth century, the novels of James and Faulkner reveal how whiteness depended on visual culture even before film and television became its predominant media. In Morrison, the culture is aural and oral—and often about the absence of the visual. Because Morrison’s African American communities produce identity in nonvisual, even anti-visual terms, McKee argues, they refute not just white representations of black persons as objects but also visual orders of representation that have constructed whites as subjects and blacks as objects.
With a theoretical approach that both complements and transcends current scholarship about race—and especially whiteness—Producing American Races will engage scholars in American literature, critical race theory, African American studies, and cultural studies. It will also be of value to those interested in the novel as a political and aesthetic form.
Producing Mass Entertainment: The Serial Life of the Yellow Kid offers a new take on the emergence of the Yellow Kid comic figure, looking closely at the mass appeal and proliferation of the Yellow Kid across different media. Christina Meyer identifies the aesthetic principles of newspaper comics and examines the social agents—advertising agencies, toy manufacturers, actors, retailers, and more—responsible for the Yellow Kid’s successful career. In unraveling the history of comic characters in capitalist consumer culture, Meyer offers new insights into the creation and dissemination of cultural products, reflecting on modern artistic and merchandising phenomena.
Hawthorne’s major works, including his short fiction, exhibit a profound conflict between eighteenth-century views of an orderly, balanced, and static universe on the one hand and nineteenth-century conceptions of a universe in constant flux on the other. Johnson argues that Hawthorne, though he did not identify with any organized church, found in theology the myths that allowed him to negotiate a bridge between these two opposed views of the world and to forge the social, psychological, and aesthetic values that inform his art.
As the humanities in higher education struggle with a labor crisis and with declining enrollments, the travails of literary study are especially profound. No scholar has analyzed the discipline’s contradictions as authoritatively as John Guillory. In this much-anticipated new book, Guillory shows how the study of literature has been organized, both historically and in the modern era, both before and after its professionalization. The traces of this volatile history, he reveals, have solidified into permanent features of the university. Literary study continues to be troubled by the relation between discipline and profession, both in its ambivalence about the literary object and in its anxious embrace of a professionalism that betrays the discipline’s relation to its amateur precursor: criticism.
In a series of timely essays, Professing Criticism offers an incisive explanation for the perennial churn in literary study, the constant revolutionizing of its methods and objects, and the permanent crisis of its professional identification. It closes with a robust outline of five key rationales for literary study, offering a credible account of the aims of the discipline and a reminder to the professoriate of what they already do, and often do well.
Updated with a new preface by the author that addresses many of the provocative arguments raised by its initial publication, Professing Literature remains an essential history of literary pedagogy and a critical classic.
“Graff’s history. . . is a pathbreaking investigation showing how our institutions shape literary thought and proposing how they might be changed.”— The Norton Anthology of Theory and Criticism
The discipline of literary criticism is strictly defined, and the most pressing issues of our time—racism, violence against women and homosexuals, cultural imperialism, and the like—are located outside its domain. In Professional Correctness, Stanley Fish raises a provocative challenge to those who try to turn literary studies into an instrument of political change, arguing that when literary critics try to influence society at large by addressing social and political issues, they cease to be literary critics at all.
Anyone interested in the debate over the place of cultural studies in the field of literary criticism, or the more general question of whether academics can become the "public intellectuals" many aspire to be, needs to read Fish's powerful and unconventional argument for restoring discipline to the academy.
In this concise analysis, written with elegant wit, the greatest living textual critic of Latin authors offers new insight into the poetry of Horace.
Horace is best known for his four books of Odes, cherished for their lyric grace. His amiable persona is displayed more intimately in the moralizing verses of the Satires and Epistles. In a reading of all the poetry, but focusing especially on problematic areas, Shackleton Bailey examines Horace's art of self-presentation. A variety of themes are elucidated, from the poet's relations with his patron to Roman sexual attitudes. Close scrutiny is given to about thirty passages which, he argues, have been misread. An appended essay on a notable predecessor, the textual scholar Richard Bentley, is especially revealing on the art of classical scholarship.
Seven chronologically arranged essays—each covering roughly a decade from 1908 through 1988—plus two special-focus essays on black and female poets, an introduction by Ed Folsom, and a preface by editors Jack Myers and David Wojahn, outline the critical, creative, aesthetic, and cultural forces at work in the American poetry of this century. Several contributors, including Michael Heller, Richard Jackson, and Jonathan Holden, have recently published important book-length critical studies in their essay area; all have published well-regarded collections of their own poetry.
In Profiles and Plotlines, Katherine Johnston engages this energetic reformation of contemporary literature to account for a society and economy of frenetic counting. Fiction and poetry are capable of addressing precisely that for which algorithms cannot or do not account: the effects of profile culture; the ideologies and supposed truth-power of data; the gendered and racialized dynamics of watching and being watched; and the politics of who counts and what gets counted. Johnston analyzes prescient work by contemporary authors such as Jennifer Egan, Claudia Rankine, Mohsin Hamid, and William Gibson to probe how the claims of data surveillance serve to make lives seem legible, intelligible, and sometimes even expendable.
Hippocrates, said to have been born in Cos in or before 460 BCE, learned medicine and philosophy; travelled widely as a medical doctor and teacher; was consulted by King Perdiccas of Macedon and Artaxerxes of Persia; and died perhaps at Larissa. Apparently he rejected superstition in favour of inductive reasoning and the study of real medicine as subject to natural laws, in general and in individual people as patients for treatment by medicines and surgery. Of the roughly 70 works in the 'Hippocratic Collection' many are not by Hippocrates; even the famous oath may not be his. But he was undeniably the 'Father of Medicine'.
The works available in the Loeb Classical Library edition of Hippocrates are the following. Volume I: Ancient Medicine. Airs, Waters, Places. Epidemics 1 and 3. The Oath. Precepts. Nutriment. Volume II: Prognostic. Regimen in Acute Diseases. The Sacred Disease. The Art. Breaths. Law. Decorum. Physician (Ch. 1). Dentition. Volume III: On Wounds in the Head. In the Surgery. On Fractures. On Joints. Mochlicon. Volume IV: Nature of Man. Regimen in Health. Humours. Aphorisms. Regimen 13. Dreams. Volume V: Affections. Diseases 12. Volume VI: Diseases 3. Internal Affections. Regimen in Acute Diseases. Volume VII: Epidemics 2 and 47. Volume VIII: Places in Man. Glands. Fleshes. Prorrhetic III. Physician. Use of Liquids. Ulcers. Haemorrhoids and Fistulas. Volume IV also contains the fragments of Heracleitus, On the Universe.
In The Program Era, Mark McGurl offers a fundamental reinterpretation of postwar American fiction, asserting that it can be properly understood only in relation to the rise of mass higher education and the creative writing program. McGurl asks both how the patronage of the university has reorganized American literature and—even more important—how the increasing intimacy of writing and schooling can be brought to bear on a reading of this literature.
McGurl argues that far from occasioning a decline in the quality or interest of American writing, the rise of the creative writing program has instead generated a complex and evolving constellation of aesthetic problems that have been explored with energy and at times brilliance by authors ranging from Flannery O’Connor to Vladimir Nabokov, Philip Roth, Raymond Carver, Joyce Carol Oates, and Toni Morrison.
Through transformative readings of these and many other writers, The Program Era becomes a meditation on systematic creativity—an idea that until recently would have seemed a contradiction in terms, but which in our time has become central to cultural production both within and beyond the university.
An engaging and stylishly written examination of an era we thought we knew, The Program Era will be at the center of debates about postwar literature and culture for years to come.
Socialist doctrines had an important influence on Korean writers and intellectuals of the early twentieth century. From the 1910s through the 1940s, a veritable wave of anarchist, Marxist, nationalist, and feminist leftist groups swept the cultural scene with differing agendas as well as shared demands for equality and social justice. In The Proletarian Wave, Sunyoung Park reconstructs the complex mosaic of colonial leftist culture by focusing on literature as its most fertile and enduring expression. The book combines a general overview of the literary left with the intellectual portraits of four writers whose works exemplify the stylistic range and colonial inflection of socialist culture in a rapidly modernizing Korea. Bridging Marxist theory and postcolonial studies, Park confronts Western preconceptions about third-world socialist cultures while interrogating modern cultural history from a post–Cold War global perspective.
The Proletarian Wave provides the first historical account in English of the complex interrelations of literature and socialist ideology in colonial Korea. It details the origins, development, and influence of a movement that has shaped twentieth-century Korean politics and aesthetics alike through an analysis that simultaneously engages some of the most debated and pressing issues of literary historiography, Marxist criticism, and postcolonial cultural studies.
This anthology presents a rich but little-known body of American Yiddish poetry from the 1920s to the early 1950s by thirty-nine poets who wrote from the perspective of the proletarian left. Presented on facing pages in Yiddish and English translation, these one hundred poems are organized thematically under such headings as Songs of the Shop, United in Struggle, Matters of the Heart, The Poet on Poetry, and Wars to End All Wars. One section is devoted to verse depicting the struggles of African Americans, including several poems prompted by the infamous Scottsboro trial of nine African American men falsely accused of rape. Home to many of the writers, New York City is the subject of a varied array of poems. The volume includes an extensive introduction by Dovid Katz, a biographical note about each poet, a bibliography, and a timeline of political, social, and literary events that provide context for the poetry.
Winner of the Fenia and Yaakov Leviant Memorial Prize in Yiddish Studies for Outstanding Translation
A Choice Outstanding Academic Title
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Readers once believed in Proust’s madeleine and in Wordsworth’s recollections of his boyhood—but that was before literary culture began to defer to Freud’s questioning of adult memories of childhood. In this first sustained look at childhood memories as depicted in literature, Lorna Martens reveals how much we may have lost by turning our attention the other way. Her work opens a new perspective on early recollection—how it works, why it is valuable, and how shifts in our understanding are reflected in both scientific and literary writings.
Science plays an important role in The Promise of Memory, which is squarely situated at the intersection of literature and psychology. Psychologists have made important discoveries about when childhood memories most often form, and what form they most often take. These findings resonate throughout the literary works of the three writers who are the focus of Martens’ book. Proust and Rilke, writing in the modernist period before Freudian theory penetrated literary culture, offer original answers to questions such as “Why do writers consider it important to remember childhood? What kinds of things do they remember? What do their memories tell us?” In Walter Benjamin, Martens finds a writer willing to grapple with Freud, and one whose writings on childhood capture that struggle.
For all three authors, places and things figure prominently in the workings of memory. Connections between memory and materiality suggest new ways of understanding not just childhood recollection but also the artistic inclination, which draws on a childlike way of seeing: object-focused, imaginative, and emotionally intense.
Through close readings of nationalist newspapers and novels, the vernacular theater, and accounts of the 1896 anticolonial revolution, Rafael traces the deep ambivalence with which elite nationalists and lower-class Filipinos alike regarded Castilian. The widespread belief in the potency of Castilian meant that colonial subjects came in contact with a recurring foreignness within their own language and society. Rafael shows how they sought to tap into this uncanny power, seeing in it both the promise of nationhood and a menace to its realization. Tracing the genesis of this promise and the ramifications of its betrayal, Rafael sheds light on the paradox of nationhood arising from the possibilities and risks of translation. By repeatedly opening borders to the arrival of something other and new, translation compels the nation to host foreign presences to which it invariably finds itself held hostage. While this condition is perhaps common to other nations, Rafael shows how its unfolding in the Philippine colony would come to be claimed by Filipinos, as would the names of the dead and their ghostly emanations.
"The proper lady was a handy concept for a developing bourgeois patriarchy, since it deprived women of worldly power, relegating them to a sanctified domestic sphere that, in complex ways, nourished and sustained the harsh 'real' world of men. With care and subtle intelligence, Poovey examines this 'guardian and nemesis of the female self' through the ways it is implicated in the style and strategies of three very different writers."—Rachel M. Brownstein, The Nation
"The Proper Lady and the Woman Writer is a model of . . . creative discovery, providing a well-researched, illuminating history of women writers at the turn of the nineteenth century. [Poovey] creates sociologically and psychologically persuasive accounts of the writers: Wollstonecraft, who could never fully transcend the ideology of propriety she attacked; Shelley, who gradually assumed a mask of feminine propriety in her social and literary styles; and Austen, who was neither as critical of propriety as Wollstonecraft nor as accepting as Shelley ultimately became."—Deborah Kaplan, Novel
A universal test of great writers is the quality of their response to the human dilemma. Prophet in the Wilderness traces the development of that response in the works of the Argentine writer Ezequiel Martínez Estrada, from the first ambitious poems to its definitive expression in the essays and short stories.
His theme is progressive disillusionment, in history and in personal experience, both of which are interpreted in his work as accumulations of error. Modern civilization, he believes, has created many more problems than it has solved. Like Schopenhauer, Freud, and Spengler, the three thinkers who influenced him most, Martínez Estrada found in real events and circumstances all the symbols of disenchantment. Many today have begun to share this disenchantment, for since the publication of X-Ray of the Pampa in 1933 the real world has become more and more like his symbolic world.
Prophet in the Wilderness examines Martínez Estrada's foremost concern: the world as a complex reality to be discovered behind the image of one's own most intimate community. For him, the community assumed many forms: Buenos Aires, the enigmatic metropolis; the cathedral in his story "The Deluge"; the innumerable family of Marta Riquelme; Argentina itself in his masterpiece, X-Ray of the Pampa.
Martínez Estrada is the great solitary of Hispanic American literature, independent of all fashions and trends. With Borges, he had become by 1950 one of the two most discussed writers in Argentina.
Prophetic Visions of the Past includes chapters on literary texts from a wide array of languages, histories, and perspectives. Figueroa addresses work by Alejo Carpentier (Cuba), C. L. R. James (Trinidad), Luis Palés Matos (Puerto Rico), Aimé Césaire (Martinique), Derek Walcott (Saint Lucia), Edouard Glissant (Martinique), and Manuel Zapata Olivella (Colombia). While underscoring each writer’s unique position, Figueroa also addresses their shared geographical, historical, and sociopolitical preoccupations, which are closely linked to the region’s prolonged experience of colonial interventions. Ultimately, these analyses probe how, for the larger Caribbean region, the Haitian Revolution continues to reflect the tension between inspiring revolutionary hopes and an awareness of ongoing colonial objectification and exploitation.
Recipient of the Hubert Herring Memorial Award from the Pacific Coast Council on Latin American Studies for the best unpublished manuscript of 1973, Prose Fiction of the Cuban Revolution is an in-depth study of works by Cubans, Cuban exiles, and other Latin American writers. Combining historical and critical approaches, Seymour Menton classifies and analyzes over two hundred novels and volumes of short stories, revealing the extent to which Cuban literature reflects the reality of the Revolution.
Menton establishes four periods—1959–1960, 1961–1965,1966–1970, and 1971–1973—that reflect the changing policies of the revolutionary government toward the arts. Using these periods as a chronological guideline, he defines four distinct literary generations, records the facts about their works, establishes coordinates, and formulates a system of literary and historical classification. He then makes an aesthetic analysis of the best of Cuban fiction, emphasizing the novels of major writers, including Alejo Carpentier's El siglo de las luces, and José Lezama Lima's Paradiso. He also discusses the works of a large number of lesser-known writers, which must be considered in arriving at an accurate historical tableau.
Menton's exploration of the short story combines a thematic and stylistic analysis of nineteen anthologies with a close study of six authors: Guillermo Cabrera Infante, Calvert Casey, Humberto Arenal, Antonio Benítez, Jesús Díaz Rodríguez, and Norberto Fuentes. Several chapters are devoted to the increasing number of novels and short stories written by Cuban exiles as well as to the eighteen novels and one short story written about the Revolution by non-Cubans, such as Julio Cortázar, Carlos Martínez Moreno, Luisa Josefina Hernández, and Pedro Juan Soto.
In studying literary works to reveal the intrinsic consciousness of a historical period, Menton presents not only his own views but also those of Cuban literary critics. In addition, he clarifies the various changes in the official attitude toward literature and the arts in Cuba, using the revolutionary processes of several other countries as comparative examples.
A focus on the representation of everyday life in women’s prose reveals that a first generation of female writers (Natal’ia Baranskaia, Irina Grekova) both legitimated and limited their successors (Liudmila Petrushevskaia, Tat’iana Tolstaia, Liudmila Ulitskaia, and Svetlana Vasilenko) in their choice of literary topics. The Prose of Life traces the development, and intriguing ruptures, of recent Russian women’s prose, becoming a must-read for readers interested in Russian literature and gender studies.
2009 Outstanding Academic Title, Choice Magazine
In The Prose of Things, Wall analyzes literary works in the contexts of natural science, consumer culture, and philosophical change to show how and why the perception and representation of space in the eighteenth-century novel and other prose narratives became so textually visible. Wall examines maps, scientific publications, country house guides, and auction catalogs to highlight the thickening descriptions of domestic interiors. Considering the prose works of John Bunyan, Samuel Pepys, Aphra Behn, Daniel Defoe, Samuel Richardson, David Hume, Ann Radcliffe, and Sir Walter Scott, The Prose of Things is the first full account of the historic shift in the art of describing.
A member of Mexico's privileged upper class, yet still subordinated because of her gender, Rosario Castellanos became one of Latin America's most influential feminist social critics. Joanna O'Connell here offers the first book-length study of all Castellanos' prose writings, focusing specifically on how Castellanos' experiences as a Mexican woman led her to an ethic of solidarity with the oppressed peoples of her home state of Chiapas.
O'Connell provides an original and detailed analysis of Castellanos' first venture into feminist cultural analysis in her essay Sobre cultura feminina (1950) and traces her moral and intellectual trajectory as feminist and social critic. An overview of Mexican indigenismo establishes the context for individual chapters on Castellanos' narratives of ethnic conflict (the novels Balún Canán and Oficio de tinieblas and the short stories of Ciudad Real). In further chapters O'Connell reads Los convidados de agosto,Album de familia, and Castellanos' four collections of essays as developments of her feminist social analysis.
María de Zayas is unique in the seventeenth century as the only Spanish woman to write a collection of exemplary novels whose quality is often compared to Miguel de Cervantes’ masterful works. Her two main collections of short stories, Novelas amorosas y ejemplares and Desengaños amorosos, encompass a social critique based on literary fiction that exposes flaws in the idealized archetypes of masculine identity in early modern Spain. Zayas’s stories redefine women’s patriarchal disadvantage as a tool to expose the ways in which early modern Spanish women could be empowered to counteract men’s discursive and political authority, which they use to unfairly maintain their own social privilege.
Xabier Granja Ibarreche explores how Zayas defies Spanish hegemony by manipulating and transforming the ideals of courtly masculinity that had been popularized by conduct manuals and the traits they specified for appropriate noble comportment. In doing so, Zayas elaborates a nonofficial discourse throughout plots that subvert patriarchal hierarchies: she rearticulates the existing ideological order to empower women who are no longer willing to remain silent and oppressed by masculine domination after centuries of failing to attain a sufficiently self-sufficient political position to ascend in the social hierarchy. By inverting the male gaze that assumes masculinity as a preeminent identity, Zayas subverts the patriarchal subject/masculine, object/feminine order and destabilizes manly superiority as a basic universal reality, thereby empowering and unshackling Spanish women to liberate Iberian culture from the repressive and pernicious future she forebodes.
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