A SCHOLARLY BOOK REPOSITORY648 start with P start with P
Known for her far-reaching examinations of psychoanalysis, literature, and politics, Jacqueline Rose has in recent years turned her attention to the Israel-Palestine conflict, one of the most enduring and apparently intractable conflicts of our time. In Proust among the Nations, she takes the development of her thought on this crisis a stage further, revealing it as a distinctly Western problem.
Christine M. Cano’s Proust’s Deadline presents a concise history of the publishing and reception of À la recherche du temps perdu, and sorts out the most important issues that have arisen from the ensuing debates about the text. She ultimately shows how this quintessential “book about time” tells another story about time’s passage: the story of Proust’s mortal confrontation with the temporality of writing, publishing, and reading.
This book is a collection of English proverbs, sentences, and proverbial phrases from the Middle Ages. The material is drawn from an exhaustive examination of the surviving texts, mainly printed ones but some still in manuscript. Certain books written later than 1500, usually by authors who were born twenty years or so before the turn of the century, are included, and John Heywood, the first great assembler of English proverbs, is represented by the sayings he compiled.
,"No matter how popular a saying may appear," Mr. Whiting points out in his Preface, "it comes to us at one remove or more from popular usage. The medieval proverbs which survive do so only because they were written down by educated men, none of them collectors from the field. In most cases the sayings were incorporated in literary works by authors who did not hesitate to make changes suggested by context, application, and meter. We sometimes forget that Heywood's Dialogue and Epigrams are poems, although Heywood's standards of prosody are such as to let him use proverbs without too drastic changes for rhyme and rhythm's sake. What we have in most quotations is the proverb, not as an author may have heard or read it, but in the form which suited his immediate convenience or whim."
The sayings are alphabetized by key words and the quotations are in chronological order. Cross-references link sayings of similar import, and the index is a guide to important words other than those by which the alphabetical order is established. References are given to the standard collections of English proverbs, so that the user can trace the later history of many of the sayings.
Filling a long-felt gap in the field, this work will be indispensable to students of Old and Middle English literature and of great value to everyone interested in the rich resources of proverb lore.
Informed by comprehensive historical research, the author shows that Hawthorne was steeped in New England historiography, particularly the sermon literature of the seventeenth century. But, as Colacurcio shows, Hawthorne did not merely borrow from the historical texts he deliberately studied; rather, he is best understood as having written history. In The Province of Piety, originally published in 1984 (Harvard University Press), Hawthorne is seen as a moral historian working with fictional narratives—a writer brilliantly involved in examining the moral and political effects of Puritanism in America and recreating the emotional and cultural contexts in which earlier Americans had lived.
Master draws on scholarship in political theory, Latin historiography, Roman history, and ethnic identity to demonstrate how Tacitus presented to his contemporary audience in Trajanic Rome the dangerous consequences of the city’s failure to reward and incorporate its provincial subjects. Master argues that Tacitus’ presentation of the Vitellian and Flavian armies, and especially the Batavian auxiliary soldiers, reflects a central lesson of the Histories: the Empire’s exploitation of provincial manpower (increasingly the majority of all soldiers under Roman banners) while offering little in return, set the stage for civil wars and ultimately the separatist Batavian revolt.
Spirited verse.
Prudentius (Aurelius Prudentius Clemens) was born in AD 348 probably at Caesaraugusta (Saragossa) and lived mostly in northeastern Spain, but visited Rome between 400 and 405. His parents, presumably Christian, had him educated in literature and rhetoric. He became a barrister and at least once later on an administrator; he afterwards received some high honor from Emperor Theodosius. Prudentius was a strong Christian who admired the old pagan literature and art, especially the great Latin poets whose forms he used. He looked on the Roman achievement in history as a preparation for the coming of Christ and the triumph of a spiritual empire.
The Loeb Classical Library edition of the poems of Prudentius is in two volumes. Volume I presents: “Preface” (Praefatio); “The Daily Round” (Liber Cathemerinon); twelve literary and attractive hymns, parts of which have been included in the Breviary and in modern hymnals; “The Divinity of Christ” (Apotheosis), which maintains the Trinity and attacks those who denied the distinct personal being of Christ; “The Origin of Sin” (Hamartigenia) attacking the separation of the “strict” God of the Old Testament from the “good” God revealed by Christ; “Fight for Mansoul” (Psychomachia), which describes the struggle between (Christian) Virtues and (Pagan) Vices; and the first book of “Against the Address of Symmachus” (Contra Orationem Symmachi), in which pagan gods are assailed.
The second volume contains the second book of “Against the Address of Symmachus,” opposing a petition for the replacement of an altar and statue of Victory; “Crowns of Martyrdom” (Peristephanon Liber), fourteen hymns to martyrs mostly of Spain; “Lines To Be Inscribed under Scenes from History” (Tituli Historiarum), forty-nine four-line stanzas that are inscriptions for scenes from the Bible depicted on the walls of a church; and an Epilogue.
Spirited verse.
Prudentius (Aurelius Prudentius Clemens) was born in AD 348 probably at Caesaraugusta (Saragossa) and lived mostly in northeastern Spain, but visited Rome between 400 and 405. His parents, presumably Christian, had him educated in literature and rhetoric. He became a barrister and at least once later on an administrator; he afterwards received some high honor from Emperor Theodosius. Prudentius was a strong Christian who admired the old pagan literature and art, especially the great Latin poets whose forms he used. He looked on the Roman achievement in history as a preparation for the coming of Christ and the triumph of a spiritual empire.
The Loeb Classical Library edition of the poems of Prudentius is in two volumes. Volume I presents: “Preface” (Praefatio); “The Daily Round” (Liber Cathemerinon); twelve literary and attractive hymns, parts of which have been included in the Breviary and in modern hymnals; “The Divinity of Christ” (Apotheosis), which maintains the Trinity and attacks those who denied the distinct personal being of Christ; “The Origin of Sin” (Hamartigenia) attacking the separation of the “strict” God of the Old Testament from the “good” God revealed by Christ; “Fight for Mansoul” (Psychomachia), which describes the struggle between (Christian) Virtues and (Pagan) Vices; and the first book of “Against the Address of Symmachus” (Contra Orationem Symmachi), in which pagan gods are assailed.
The second volume contains the second book of “Against the Address of Symmachus,” opposing a petition for the replacement of an altar and statue of Victory; “Crowns of Martyrdom” (Peristephanon Liber), fourteen hymns to martyrs mostly of Spain; “Lines To Be Inscribed under Scenes from History” (Tituli Historiarum), forty-nine four-line stanzas that are inscriptions for scenes from the Bible depicted on the walls of a church; and an Epilogue.
Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.
In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.
Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.
Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.
Philip L. Simpson provides an original and broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s.
The fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt American literature and, particularly, visual media such as cinema and television. Simpson theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires, and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects American cultural anxieties at the start of the twenty-first century.
Citing numerous sources, Simpson argues that serial killers’ recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionary, whose murders privately and publicly re-empower them with a pseudo-divine aura in the contemporary political moment. The current fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right.
Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalog approach in this study in favor of in-depth an analysis of the best American work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including Red Dragon and The Silence of the Lambs by Thomas Harris, Manhunter directed by Michael Mann, Henry: Portrait of a Serial Killer directed by John McNaughton, Seven directed by David Fincher, Natural Born Killers directed by Oliver Stone, Zombie by Joyce Carol Oates, and American Psycho by Bret Easton Ellis.
Public and Private was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This groundbreaking work examines the emergent and fluctuating relationship between the public and private social spheres of the late eighteenth and nineteenth centuries. By assessing novels such as Mary Shelley's Frankenstein and Jane Austen's Emma through the lens of the social theories of Jürgen Habermas and Michel Foucault, Patricia McKee presents a fresh and highly original contribution to literary studies.
McKee explores the themes of production and consumption as they relate to gender and class throughout the works of many of the most influential novels of the age including Tobias Smollett's Humphry Clinker, Horace Walpole's The Castle of Otranto, Emma, Frankenstein, Anthony Trollope's Barchester Towers, Charles Dickens's Little Dorrit and The Old Curiosity Shop, Mrs. Henry Wood's East Lynne, and Thomas Hardy's The Return of the Native.
McKee analyzes portrayals of a society in which abstract idealism belonged to knowledgeable, productive men and the realm of ignorance was left to emotional, consuming women and the uneducated. She traces the various ways British literature of the eighteenth and nineteenth centuries worked to reform this social experience. Topics include Dickens's attack on the bureaucratic use of knowledge to maintain the status quo; the function of antiprogressive depictions of knowledge in Trollope, Shelley, and Hardy; and Austen's characterization of the protagonist Emma as an exception in a society that denied women's productive use of knowledge.
Offering a sharp challenge to theorists who have charted a linear division of public and private experience, McKee highlights the unexpected configurations of the emergence of the public and private spheres and the effect of knowledge distribution across class and gender lines.
Patricia McKee is professor of English at Dartmouth College. She is the author of Heroic Commitment in Richardson, Eliot, and James (1986).
The phenomenal successes of new advertising agencies and mass market publishers did elicit what Morrisson calls a "crisis of publicity" for some modernists and for many concerned citizens in both countries. But, as Morrisson demonstrates, the vast influence of these industries on consumers also had a profound and largely overlooked effect upon many modernist authors, artists, and others. By exploring the publicity and audience reception of several of the most important modernist magazines of the period, The Public Face of Modernism shows how modernists, far from lamenting the destruction of meaningful art and public culture by the new mass market, actually displayed optimism about the power of mass-market technologies and strategies to transform and rejuvenate contemporary culture—and, above all, to restore a public function to art.
This reconstruction of the "public face of modernism" offers surprising new perceptions about the class, gender, racial, and even generational tensions within the public culture of the early part of the century, and provides a rare insight into the actual audiences for modernist magazines of the period. Moreover, in new readings of works by James Joyce, George Bernard Shaw, Wyndham Lewis, Ford Madox Ford, T. S. Eliot, William Carlos Williams, and many others, Morrisson shows that these contexts also had an impact on the techniques and concerns of the literature itself.
Explores the way Italian women writers craft identities through writing.
In this important volume, Graziella Parati examines the ways in which Italian women writers articulate their identities through autobiography—a public act that is also the creation of a private life. Considering autobiographical writings by five women writers from the seventeenth century to the present, Parati draws important connections between self-writing and the debate over women’s roles, both traditional and transgressive.
Parati considers the first prose autobiography written by an Italian woman -Camilla Faà Gonzaga’s 1622 memoir—as her beginning point, citing it as a central “pre-text.” In her memoir, Gonzaga makes explicit her conflict over the public silence imposed on her, yet succeeds in writing herself into history through self-narrative. Parati then examines Enif Robert’s autobiography, in which Robert strives to enter the public sphere of the post-World War I futurist movement by writing about her fight to overcome cancer of the uterus. Next, Parati considers Fausta Cialente’s life story, an account of her family's life in Trieste from World War I through the fascist era, as well as the narrative in which Rita Levi Montalcini describes her life as a woman, a Nobel-Prize winning scientist, and a Jew who lived under fascism in the thirties and forties. Finally, Parati analyzes Luisa Passerini's look back on her involvement with the student movement of 1968. Through her discussion of these women’s writings, Parati demonstrates the complex negotiations over identity contained within them, negotiations that challenge dichotomies between male and female, maternal and paternal, and private and public. Public History, Private Stories is a compelling exploration of the disparate identities created by these women through the act of writing autobiography.
Margolis provides readings of fiction by Hawthorne and James as well as Susan Warner, Mark Twain, Charles Chesnutt, and Pauline Hopkins. In these writers’ works, she traces a distinctive novelistic tradition that viewed social developments—such as changes in political partisanship and childhood education and the rise of new politico-legal forms like negligence law—as means for understanding how individuals were shaped by their interactions with society. The Public Life of Privacy in Nineteenth-Century American Literature adds a new level of complexity to understandings of nineteenth-century American culture by illuminating a literary tradition full of accidents, mistakes, and unintended consequences—one in which feelings and desires were often overshadowed by all that was external to the self.
Pairing close readings of Molière's comedies with insightful accounts of French social history and aesthetics, Norman shows how Molière conceived of satire as a "public mirror" provoking dynamic exchange and conflict with audience members obsessed with their own images. Drawing on these tensions, Molière portrays characters satirizing one another on stage, with their reactions providing dramatic conflict and propelling comic dialogue. By laying bare his society's system of imagining itself, Molière's satires both enthralled and enraged his original audience and provide us with a crucial key to the classical culture of representation.
The Native American casino and gaming industry has attracted unprecedented American public attention to life on reservations. Other tribal public venues, such as museums and powwows, have also gained in popularity among non-Native audiences and become sites of education and performance.
In PublicNative America, Mary Lawlor explores the process of tribal self-definition that the communities in her study make available to off-reservation audiences. Focusing on architectural and interior designs as well as performance styles, she reveals how a complex and often surprising cultural dynamic is created when Native Americans create lavish displays for the public’s participation and consumption.
Drawing on postcolonial and cultural studies, Lawlor argues that these venues serve as a stage where indigenous communities play out delicate negotiations—on the one hand retaining traditional beliefs and rituals, while on the other, using what they have learned about U.S. politics, corporate culture, tourism, and public relations to advance their economic positions.
Vigil also reveals how these conversations inevitably engage with gender concerns, showing how the role of gender in this relationship is neither static nor consistent over time. Examining how these works represent such things as gendered Latina/o counter publics, how Central American–American communities are gendered in relation to other US Latina/o communities, how and why gendered expressions of Latinidad are produced and marketed, and how print media provides an important space for dissemination of diverse ideas, Public Negotiations considers the way in which gender functions in terms of both the construction and reception of a Latina/o public in a transnational space. Through thorough examination and with deep insight, Vigil shows how literature can invaluably reflect current and historical issues surrounding media and the public sphere and help us imagine new, hopefully better, possibilities.
Public reading programs are flourishing in many Latin American cities in the new millennium. They defy the conception of reading as solitary and private by literally taking literature to the streets to create new communities of readers. From institutional and official to informal and spontaneous, the reading programs all use public space, distribute creative writing to a mass public, foster collective rather than individual reading, and provide access to literature in unconventional arenas.
The first international study of contemporary print culture in the Americas, Public Pages reveals how recent cultural policy and collective literary reading intervene in public space to promote social integration in cities in Colombia, Argentina, Brazil, Mexico, and Chile. Marcy Schwartz looks at broad institutional programs such as UNESCO World Book Capital campaigns and the distribution of free books on public transportation, as well as local initiatives that produce handmade books out of recycled materials (known as cartoneras) and display banned books at former military detention centers. She maps the connection between literary reading and the development of cultural citizenship in Latin America, with municipalities, cultural centers, and groups of ordinary citizens harnessing reading as an activity both social and literary. Along with other strategies for reclaiming democracy after decades of authoritarian regimes and political violence, as well as responding to neoliberal economic policies, these acts of reading collectively in public settings invite civic participation and affirm local belonging.
"There are books of literary criticism that attempt to reach crossover audiences but none that take this particular public-humanities-focused-on-literary criticism perspective."—Kathryn Temple, Georgetown University
Contributions by Rachel Arteaga, Christine Chaney, Jim Cocola, Daniel Coleman, Christopher Douglas, Gary Handwerk, Cynthia L. Haven, Rosemary Erickson Johnsen, Anu Taranath, Carmaletta M. Williams, and Lorraine York.
A Publisher's Paradise explores the political and literary dynamics that gave rise to this expatriate cultural flourishing, which included everything from Victorian pornography to the most daring and controversial modernist classics. Colette Colligan tracks the British and French politicians and diplomats who policed Paris editions of banned books and uncovers offshore networks of publishers, booksellers, authors, and readers. She looks closely at the stories the "dirty books" told about this publishing haven and the smut peddlers and literary giants it brought together in transnational cultural formations. The book profiles an eclectic group of expatriates living and publishing in Paris, from relatively obscure figures such as Charles Carrington, whose list included both The Picture of Dorian Gray and the pornographic novel Randiana, to bookshop owner Sylvia Beach, famous for publishing James Joyce's Ulysses in 1922.
A Publisher's Paradise is a compelling exploration of the little-known history of foreign pornography in Paris and the central role it played in turning the city into a modernist outpost for literary and sexual vanguardism, a reputation that still lingers today in our cultural myths of midnight in Paris.
From the white editorial authentication of slave narratives, to the cultural hybridity of the Harlem Renaissance, to the overtly independent publications of the Black Arts Movement, to the commercial power of Oprah's Book Club, African American textuality has been uniquely shaped by the contests for cultural power inherent in literary production and distribution. Always haunted by the commodification of blackness, African American literary production interfaces with the processes of publication and distribution in particularly charged ways. An energetic exploration of the struggles and complexities of African American print culture, this collection ranges across the history of African American literature, and the authors have much to contribute on such issues as editorial and archival preservation, canonization, and the "packaging" and repackaging of black-authored texts. Publishing Blackness aims to project African Americanist scholarship into the discourse of textual scholarship, provoking further work in a vital area of literary study.
Publishing the Family describes the sources and controversial outcome of a fascinating literary experiment. Howard embeds the story of The Whole Family in the story of Harper & Brothers’ powerful and pervasive presence in American cultural life, treating the publisher, in effect, as an author.
Each chapter of Publishing the Family casts light on some aspect of life in the United States at a moment that arguably marked the beginning of our own era. Howard revises common views of the turn-of-the-century literary marketplace and discusses the perceived crisis in the family as well as the popular and expert discourses that emerged to remedy it. She also demonstrates how creative women like Bazar editor Elizabeth Jordan blended their own ideas about the “New Woman” with traditional values. Howard places these analyses in the framework of far-reaching historical changes, such as the transformation of the public meaning of emotion and “sentimentality.” Taken together, the chapters in Publishing the Family show how profoundly the modern mapping of social life relies on boundaries between family and business, culture and commerce, which The Whole Family and Publishing the Family constantly unsettle.
Publishing the Family will interest students and scholars of American history, literature, and culture, as well as those studying gender, sexuality, and the family.
Brody provides a playful, erudite meditation on punctuation’s power to direct discourse and, consequently, to shape human subjectivity. Her analysis ranges from a consideration of typography as a mode for representing black subjectivity in Ralph Ellison’s Invisible Man to a reflection on hyphenation and identity politics in light of Strunk and White’s prediction that the hyphen would disappear from written English. Ultimately, Brody takes punctuation off the “stage of the page” to examine visual and performance artists’ experimentation with non-grammatical punctuation. She looks at different ways that punctuation performs as gesture in dances choreographed by Bill T. Jones, in the hybrid sculpture of Richard Artschwager, in the multimedia works of the Japanese artist Yayoi Kusama, and in Miranda July’s film Me and You and Everyone We Know. Brody concludes with a reflection on the future of punctuation in the digital era.
Ancient Rome’s longest epic.
Silius Italicus (T. Catius, AD 25–101), was consul in 68 and governor of the province of Asia in 69; he sought no further office but lived thereafter on his estates as a literary man and collector. He revered the work of Cicero, whose Tusculan villa he owned, and that of Virgil, whose tomb at Naples he likewise owned and near which he lived. His epic Punica, in seventeen books, on the second War with Carthage (218–202 BC), is based for facts largely on Livy’s account. Conceived as a contrast between two great nations (and their supporting gods), championed by the two great heroes Scipio and Hannibal, his poem is written in pure Latin and smooth verse filled throughout with echoes of Virgil above all (and other poets); it exploits with easy grace, but little genius, all the devices and techniques of traditional Latin epic.
The Loeb Classical Library edition of Silius Italicus is in two volumes.
Ancient Rome’s longest epic.
Silius Italicus (T. Catius, AD 25–101), was consul in 68 and governor of the province of Asia in 69; he sought no further office but lived thereafter on his estates as a literary man and collector. He revered the work of Cicero, whose Tusculan villa he owned, and that of Virgil, whose tomb at Naples he likewise owned and near which he lived. His epic Punica, in seventeen books, on the second War with Carthage (218–202 BC), is based for facts largely on Livy’s account. Conceived as a contrast between two great nations (and their supporting gods), championed by the two great heroes Scipio and Hannibal, his poem is written in pure Latin and smooth verse filled throughout with echoes of Virgil above all (and other poets); it exploits with easy grace, but little genius, all the devices and techniques of traditional Latin epic.
The Loeb Classical Library edition of Silius Italicus is in two volumes.
The puppet creates delight and fear. It may evoke the innocent play of childhood, or become a tool of ritual magic, able to negotiate with ghosts and gods. Puppets can be creepy things, secretive, inanimate while also full of spirit, alive with gesture and voice. In this eloquent book, Kenneth Gross contemplates the fascination of these unsettling objects—objects that are also actors and images of life.
The poetry of the puppet is central here, whether in its blunt grotesquery or symbolic simplicity, and always in its talent for metamorphosis. On a meditative journey to seek the idiosyncratic shapes of puppets on stage, Gross looks at the anarchic Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in Europe and the United States, where puppets enact everything from Baroque opera and Shakespearean tragedy to Beckettian farce. Throughout, he interweaves accounts of the myriad faces of the puppet in literature—Collodi’s cruel, wooden Pinocchio, puppetlike characters in Kafka and Dickens, Rilke’s puppet-angels, the dark puppeteering of Philip Roth’s Micky Sabbath—as well as in the work of artists Joseph Cornell and Paul Klee. The puppet emerges here as a hungry creature, seducer and destroyer, demon and clown. It is a test of our experience of things, of the human and inhuman. A book about reseeing what we know, or what we think we know, Puppet evokes the startling power of puppets as mirrors of the uncanny in life and art.
Puritan Spirits in the Abolitionist Imagination reveals how the leaders of the nineteenth-century abolitionist movement—from landmark figures like Ralph Waldo Emerson to scores of lesser-known writers and orators—drew upon the Puritan tradition to shape their politics and personae. In a striking instance of selective memory, reimagined aspects of Puritan history proved to be potent catalysts for abolitionist minds. Black writers lauded slave rebels as new Puritan soldiers, female antislavery militias in Kansas were cast as modern Pilgrims, and a direct lineage of radical democracy was traced from these early New Englanders through the American and French Revolutions to the abolitionist movement, deemed a “Second Reformation” by some. Kenyon Gradert recovers a striking influence on abolitionism and recasts our understanding of puritanism, often seen as a strictly conservative ideology, averse to the worldly rebellion demanded by abolitionists.
Puritanism and Modernist Novels offers new formal and contextual readings of early modernist novels by Oscar Wilde, E. M. Forster, James Joyce, and Ford Madox Ford. Hinojosa demonstrates that, while they long for escape, these authors still question the value of the novelistic narrative of confinement and escape. Bridging modernist and novel studies, Puritanism and Modernist Novels contributes to conversations about secularization and religion in both fields, highlighting the limitations created by the secularization narrative of modernity.
The whole destiny of America is contained in the first Puritans who landed on these shores, wrote de Tocqueville. These newcomers, and the range of their intellectual achievements and failures, are vividly depicted in The Puritans in America. Exiled from England, the Puritans settled in what Cromwell called “a poor, cold, and useless” place—where they created a body of ideas and aspirations that were essential in the shaping of American religion, politics, and culture.
In a felicitous blend of documents and narrative Alan Heimert and Andrew Delbanco recapture the sweep and restless change of Puritan thought from its incipient Americanism through its dominance in New England society to its fragmentation in the face of dissent from within and without. A general introduction sketches the Puritan environment, and shorter introductions open each of the six sections of the collection. Thirty-eight writers are included—among these Cotton, Bradford, Bradstreet, Winthrop, Rowlandson, Taylor, and the Mathers—as well as the testimony of Anne Hutchinson and documents illustrating the witchcraft crisis. The works, several of which are published here for the first time since the seventeenth century, are presented in modern spelling and punctuation.
Despite numerous scholarly probings, Puritanism remains resistant to categories, whether those of Perry Miller, Max Weber, or Christopher Hill. This new anthology—the first major interpretive collection in nearly fifty years—reveals the beauty and power of Puritan literature as it emerged from the pursuit of self-knowledge in the New World.
During the Aegean Bronze Age (ca. 3000–1500 BCE), the spread of woolen textiles triggered an increased demand for color. The dyes included those made from the labor-intensive processing of crocus stamens for saffron dye and even more costly dyes made from certain sea snails (the Muricidae/Murex). Minoan and Mycenaean textile producers (the palaces) operated mainly in the Black Sea region, rich in gold. “Purpled world” is Morris Silver’s term for this emergent ideology.
In Part I of The Purpled World, Silver demonstrates how the palaces embedded commercial motivation into traditional rituals, played out in purpose-built textile exhibition spaces, including labyrinths. In Part II, he mines textual, archaeological, and iconographic evidence to reveal the international textile trade. In Parts III and IV, Homer’s Trojan War is seen as a trade war, and Homeric heroes have roles as traders and/or agents for Poseidon. In Part V, Silver considers the before-and-after of this “purpled world”: Jason and the Argonauts, and the so-called collapse of the Mycenaean Palaces as a manifestation of vertical disintegration in the Aegean textile industry. The Purpled World integrates all these forms of evidence with interpretative insights from Maslovian psychology, as well as the disciplines of fashion studies, marketing, and economics.
Montrose first locates the public and professional theater within the ideological and material framework of Elizabethan culture. He considers the role of the professional theater and theatricality in the cultural transformation that was concurrent with religious and socio-political change, and then concentrates upon the formal means by which Shakespeare's Elizabethan plays called into question the absolutist assertions of the Elizabethan state. Drawing dramatic examples from the genres of tragedy and history, Montrose finally focuses his cultural-historical perspective on A Midsummer Night's Dream.
The Purpose of Playing elegantly demonstrates how language and literary imagination shape cultural value, belief, and understanding; social distinction and interaction; and political control and contestation.
In 1833 Alexander Pushkin began to explore the topic of madness, a subject little explored in Russian literature before his time. The works he produced on the theme are three of his greatest masterpieces: the prose novella The Queen of Spades, the narrative poem The Bronze Horseman, and the lyric "God Grant That I Not Lose My Mind." Gary Rosenshield presents a new interpretation of Pushkin’s genius through an examination of his various representations of madness.
Pushkin brilliantly explored both the destructive and creative sides of madness, a strange fusion of violence and insight. In this study, Rosenshield illustrates the surprising valorization of madness in The Queen of Spades and "God Grant That I Not Lose My Mind" and analyzes The Bronze Horseman’s confrontation with the legacy of Peter the Great, a cornerstone figure of Russian history. Drawing on themes of madness in western literature, Rosenshield situates Pushkin in a greater framework with such luminaries as Shakespeare, Sophocles, Cervantes, and Dostoevsky providing an insightful and absorbing study of Russia’s greatest writer.
Through careful readings of the literature of Pushkin and others active in the northern branch of the Decembrist movement, such as Kondraty Ryleev, Wilhelm Küchelbecker, and Fyodor Glinka, Wang traces the development of “emotional communities” among the members and adjacent writers. This book illuminates what Wang terms “civic sentimentalism”: the belief that cultivating noble sentiments on an individual level was the key to liberal progress for Russian society, a core part of Decembrist ideology that constituted a key difference from their thought and Pushkin’s. The emotional program for Decembrist community members was, in other ways, a civic program for Russia as a whole, one that they strove to enact by any means necessary.
"Pushkin's Button will keep all constituencies of reader fastened to their seats, as they watch Petersburg's lofty denizens leave no moment of the hurtling Pushkin scandal unrecorded or not speculated on."—Monika Greenleaf,Los Angeles Times
"[A] deliciously entertaining whydunit, a book in which every page seduces with a riddle. . . . Vivacious, seductive, original."—Michael Dirda, Washington Post
"A delightful combination of retrograde pleasures (court balls, the demise of a doomed genius) and primary sources. . . . Illuminating."—Richard Lamb, New York Times Book Review
"A book almost impossible to put down."—George Steiner, New Yorker
The culmination of four decades of work by J. Thomas Shaw, this fully searchable e-book carefully analyzes, both chronologically and by genre, Alexander Pushkin’s use of rhyme to show how meaning shifts in tandem with formal changes. Comparing Pushkin’s poetry with that of Konstantin Nikolaevich Batiushkov (1787–1855) and Evgeny Abramovich Baratynsky (1800–1844), Shaw considers, among other topics, what is exact and inexact in “exact” rhyme, how the grammatical characteristics of rhymewords affect the reader’s percepetion of the poem and its rhyme, and how the repetition of a rhyming word can also change meaning.
Each of the five chapters analyzes in detail a distinct aspect of rhyme and provides rich resources for future scholars in the accompanying tables of data. The extensive back matter in the book includes a glossary, abbreviations list, bibliography, and indexes of poems cited, names, and rhyme types and analyses.
Contributors explore such topics as the relationship of the “California novels” to Pynchon’s more historical and encyclopedic works; the significance of California's beaches, deserts, forests, freeways, and “hieroglyphic” suburban sprawl; the California-inspired noir tradition; and the surprising connections to be uncovered between drug use and realism, melodrama and real estate, private detection and the sacred. The authors bring insights to bear from an array of critical, social, and historical discourses, offering new ways of looking not only at Pynchon’s California novels, but at his entire oeuvre. They explore both how the history, geography, and culture of California have informed Pynchon’s work and how Pynchon’s ever-skeptical critical eye has been turned on the state that has been, in many ways, the flagship for postmodern American culture.
CONTRIBUTORS: Hanjo Berressem, Christopher Coffman, Stephen Hock, Margaret Lynd, Scott MacLeod, Scott McClintock, Bill Millard, John Miller, Henry Veggian
is a provocative, intelligent analysis of V., The Crying of Lot 49, Gravity's
Rainbow, and Vineland. Hanjo Berrssem examines these works in the
light of post-structuralist thought and literary theory, investigating the notion
of subjectivity and the relations between the subject, culture, and language.
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