In Nabokov and Indeterminacy, Priscilla Meyer shows how Vladimir Nabokov’s early novel The Real Life of Sebastian Knight illuminates his later work. Meyer first focuses on Sebastian Knight, exploring how Nabokov associates his characters with systems of subtextual references to Russian, British, and American literary and philosophical works. She then turns to Lolita and Pale Fire, applying these insights to show that these later novels clearly differentiate the characters through subtextual references, and that Sebastian Knight’s construction models that of Pale Fire.
Meyer argues that the dialogue Nabokov constructs among subtexts explores his central concern: the continued existence of the spirit beyond bodily death. She suggests that because Nabokov’s art was a quest for an unattainable knowledge of the otherworldly, knowledge which can never be conclusive, Nabokov’s novels are never closed in plot, theme, or resolution—they take as their hidden theme the unfinalizability that Bakhtin says characterizes all novels.
The conclusions of Nabokov's novels demand a rereading, and each rereading yields a different novel. The reader can never get back to the same beginning, never attain a conclusion, and instead becomes an adept of Nabokov’s quest. Meyer emphasizes that, unlike much postmodern fiction, the contradictions created by Nabokov’s multiple paths do not imply that existence is constructed arbitrarily of pre-existing fragments, but rather that these fragments lead to an ever-deepening approach to the unknowable.
Ellen Pifer challenges the widely held assumption that Nabokov is a writer more interested in literary games than in living human beings. She demonstrates how Nabokov arranges the details of his fiction to explore human psychology and moral truth, and she argues her case with style.
Focusing on the most highly wrought and aesthetically self-conscious of Nabokov’s novels, Pifer shows how he deploys artifice to bring into bold relief what is real. In her chapter on King, Queen, Knave she reveals Nabokov’s radical distinction between genuine and simulated human existence. She shows how, in Invitation to a Beheading and Bend Sinister, he contrasts “grotesque design” of collective existence with the individual’s radiant internal life. In Despair, Lolita, and Pale Fire, Nabokov’s parody of the double illuminates the unique source of human consciousness. In Ada, as in the earlier Laughter in the Dark, the inhuman nature of aesthetic bliss qualifies its delights. Making clear the moral perception of reality that lies behind Nabokov’s artistic strategies, Pifer offers a new assessment of Nabokov’s fiction and of his contribution to the tradition of the novel.
Nabokov Upside Down brings together essays that explicitly diverge from conventional topics and points of reference when interpreting a writer whose influence on contemporary literature is unrivaled. Scholars from around the world here read Nabokov in terms of bodies rather than minds, belly-laughs rather than erudite wit, servants rather than master-artists, or Asian rather than Western perspectives. The first part of the volume is dedicated to surveys of Nabokov’s oeuvre that transform some long-held assumptions concerning the nature of and significance of his work.
Often thought of as among the most cerebral of artists, Nabokov comes across in these essays as profoundly aware of the physical world, as evidenced by his masterly representation of physical movement, his bawdy humor, and his attention to gustatory pleasure, among other aspects of his writing. The volume’s second half focuses on individual works or phases in Nabokov’s career, noting connections among them as well as to other fields of inquiry beyond literature. Engaged in conversation with each other and, in his editorial comments, with Brian Boyd, the essays in this volume show Nabokov scholarship continuing to renew itself.
In his autobiography Speak, Memory, Vladimir Nabokov compared his life to a spiral, in which “twirl follows twirl, and every synthesis is the thesis of the next series.” The first four arcs of the spiral of Nabokov’s life—his youth in Russia, voluntary exile in Europe, two decades spent in the United States, and the final years of his life in Switzerland—are now followed by a fifth arc, his continuing life in literary history, which this volume both explores and symbolizes.
This is the first collection of essays to examine all five arcs of Nabokov’s creative life through close analyses of representative works. The essays cast new light on works both famous and neglected and place these works against the backgrounds of Nabokov’s career as a whole and modern literature in general. Nabokov analyzes his own artistry in his “Postscript to the Russian Edition of Lolita,” presented here in its first English translation, and in his little-known “Notes to Ada by Vivian Darkbloom,” published now for the first time in America and keyed to the standard U.S. editions of the novel. In addition to a defense of his father’s work by Dmitri Nabokov and a portrait-interview by Alfred Appel, Jr., the volume presents a vast spectrum of critical analyses covering all Nabokov’s major novels and several important short stories. The highly original structure of the book and the fresh and often startling revelations of the essays dramatize as never before the unity and richness of Nabokov’s unique literary achievement.
What happens within us when we read a novel? And how does a novel create its unique effects, so distinct from those of a painting, a film, or a poem? In this inspired, thoughtful, deeply personal book, Orhan Pamuk takes us into the worlds of the writer and the reader, revealing their intimate connections.
Pamuk draws on Friedrich Schiller’s famous distinction between “naive” poets—who write spontaneously, serenely, unselfconsciously—and “sentimental” poets: those who are reflective, emotional, questioning, and alive to the artifice of the written word. Harking back to the beloved novels of his youth and ranging through the work of such writers as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul, he explores the oscillation between the naive and the reflective, and the search for an equilibrium, that lie at the center of the novelist’s craft. He ponders the novel’s visual and sensual power—its ability to conjure landscapes so vivid they can make the here-and-now fade away. In the course of this exploration, he considers the elements of character, plot, time, and setting that compose the “sweet illusion” of the fictional world.
Anyone who has known the pleasure of becoming immersed in a novel will enjoy, and learn from, this perceptive book by one of the modern masters of the art.
At different times and in different places, the human form has been regarded in different ways. The Ancient Greeks thought it was the most admirable subject for art, whereas early Christians often viewed it as lascivious in our post-lapsarian state. With illustrations taken from manuscripts, statuary and literary, this is a fascinating collection of essays with much that will be new to scholars and general readers alike.
Naked Lunch was banned, castigated, and recognized as a work of genius on its first publication in 1959, and fifty years later it has lost nothing of its power to astonish, shock, and inspire. A lacerating satire, an exorcism of demons, a grotesque cabinet of horrors, it is the Black Book of the Beat Generation, the forerunner of the psychedelic counterculture, and a progenitor of postmodernism and the digital age. A work of excoriating laughter, linguistic derangement, and transcendent beauty, it remains both influential and inimitable.
This is the first book devoted in its entirety to William Burroughs’ masterpiece, bringing together an international array of scholars, artists, musicians, and academics from many fields to explore the origins, writing, reception, and complex meanings of Naked Lunch. Tracking the legendary book from Texas and Mexico to New York, Tangier, and Paris, Naked Lunch@50 significantly advances our understanding and appreciation of this most elusive and uncanny of texts.
Contributors:
Contributors:
Keith Albarn
Eric Andersen
Gail-Nina Anderson
Théophile Aries
Jed Birmingham
Shaun de Waal
Richard Doyle
Loren Glass
Oliver Harris
Kurt Hemmer
Allen Hibbard
Rob Holton
Andrew Hussey
Rob Johnson
Jean-Jacques Lebel
Ian MacFadyen
Polina Mackay
Jonas Mekas
Barry Miles
R. B. Morris
Timothy S. Murphy
Jurgen Ploog
Davis Schneiderman
Jennie Skerl
DJ Spooky
Philip Taaffe
Comparatively little critical attention has been devoted to narrative technique in modern fiction, and formal analysis of the work of Kafka, Beckett, and Robbe-Grillet in particular has for the most part been limited to short studies in journals, many of these in languages other than English. The criticism written in English has dealt primarily with theme with metaphysics and myth and ignored structure and style.
Yet it is structure and style that offer the reader a way into the often bewildering and disturbing fictional worlds these three writers present. The problem confronting writers since the middle of the nineteenth century has been how to cope artistically with an increasingly alienating and mechanized world. As George Szanto sees it, Kafka, Beckett and Robbe-Grillet conclude, by the example of their fictions, that the writer's province is no longer this impossible environment. Instead, the writer must work within the only knowledge available to any one person: the knowledge attained through perceptions. The proper study for a storyteller is thus the search for the unique details, the describable perceptions a person chooses from the outside world and brings into their mind, which in the end define their nature. The shape of the story is determined by the narrating consciousness, that single character through whose awareness the details are filtered. Thus, in a very special sense, the tale and the telling are one.
Szanto's meticulous and thoughtful study of the major fiction of Kafka, Beckett, and Robbe-Grillet searches out these details and examines the manner in which each author, through the minds of his characters, has selected and ordered them. His structural approach not only leads the reader directly into the works under scrutiny, but also provides an understanding of the workings of the art itself.
In the appendices, the author surveys the different ways in which criticism has treated these three writers. His extensive bibliography provides a valuable research tool.
Narrative theorists have lavished attention on beginnings and endings, but they have too often neglected the middle of narratives. In this groundbreaking collection of essays, Narrative Middles: Navigating the Nineteenth-Century British Novel, nine literary scholars offer innovative approaches to the study of the underrepresented middle of the vast, bulky nineteenth-century multiplot novel. Combining rigorous formal analysis with established sociohistorical methods, these essays seek to account for the various ways in which the novel gave shape to British culture’s powerful obsession with middles. The capacious middle of the nineteenth-century novel provides ample room for intricately woven plots and the development of complex character systems, but it also becomes a medium for capturing, consecrating, and cultivating the middle class and its middling, middlebrow tastes as well as its mediating global role in empire. Narrative Middles explores these fascinating conjunctions in new readings of novels by Jane Austen, William Makepeace Thackeray, Anne Brontë, George Eliot, Charles Dickens, Wilkie Collins, Henry James, and William Morris. Contributors: Amanda Claybaugh, Suzanne Daly, Amanpal Garcha, Amy King, Caroline Levine, Mario Ortiz-Robles, Kent Puckett, Hilary Schor, and Alex Woloch.
Narrative Structures and the Language of the Self by Matthew Clark offers a new way of thinking about the interrelation of character and plot. Clark investigates the characters brought together in a narrative, considering them not as random collections but as structured sets that correspond to various manifestations of the self. The shape and structure of these sets can be thought of as narrative geometry, and various geometries imply various theories of the self. Part One, “Philosophical Fables of the Self,” examines narratives such as The Talented Mr. Ripley,A Farewell to Arms,A Separate Peace, and The Master of Ballantrae in order to show successively more complex versions of the self as modeled by Descartes, Hegel, Freud, and Mead. Part Two, “The Case of the Subject,” uses Case Grammar to extend the discussion to additional roles of the self in narratives such as The Waves,The Great Gatsby,Fifth Business, and Howards End as examples of the self as experiencer, the self as observer, the instrumental self, and the locative self. The book ends with an extended analysis of the subject in Hartley’s The Go-Between. Throughout, the discussion is concerned with practical analysis of specific narratives and with the development of an understanding of the self that moves beyond the simple dichotomy of the self and the other, the subject and the object.
Narrative Theory: Core Concepts and Critical Debates addresses two frequently asked questions about narrative studies: “what is narrative theory?” and “how do different approaches to narrative relate to each other?” In engaging with these questions, the book demonstrates the diversity and vitality of the field and promotes a broader dialogue about its assumptions, methods, and purposes.
Once relegated to the borders of literature—neither Mexican nor truly American—Chicana/o writers have always been in the vanguard of change, articulating the multicultural ethnicities, shifting identities, border realities, and even postmodern anxieties and hostilities that already characterize the twenty-first century. Indeed, it is Chicana/o writers' very in-between-ness that makes them authentic spokespersons for an America that is becoming increasingly Mexican/Latin American and for a Mexico that is ever more Americanized.
In this pioneering study, Héctor Calderón looks at seven Chicana and Chicano writers whose narratives constitute what he terms an American Mexican literature. Drawing on the concept of "Greater Mexican" culture first articulated by Américo Paredes, Calderón explores how the works of Paredes, Rudolfo Anaya, Tomás Rivera, Oscar Zeta Acosta, Cherríe Moraga, Rolando Hinojosa, and Sandra Cisneros derive from Mexican literary traditions and genres that reach all the way back to the colonial era. His readings cover a wide span of time (1892-2001), from the invention of the Spanish Southwest in the nineteenth century to the América Mexicana that is currently emerging on both sides of the border. In addition to his own readings of the works, Calderón also includes the writers' perspectives on their place in American/Mexican literature through excerpts from their personal papers and interviews, correspondence, and e-mail exchanges he conducted with most of them.
Evelyn Scott’s first novel, The Narrow House, depicts a family stricken by dysfunctional domesticity. Revolving around troubled members of the Farley family, Scott exposes notions of romantic love, longing, and the image of the Southern belle as damaging, unrealistic constructs, all against the backdrop of a seemingly normal middle-class existence that in previous decades had been idealized in Southern writing. Published to high praise when it appeared in 1921, The Narrow House vaulted Scott to literary celebrity in her day.
In this new critical edition, Mary E. Papke contextualizes Scott’s first and possibly best writing effort with an astute introduction that discusses Scott and her contemporaries, the work’s importance to the genre of the novel, and the small but ongoing reclamation of Scott’s place in literary history. Completely updated and formatted for a modern readership, this critical edition of The Narrow House is sure to find its way into classrooms and onto bookshelves.
In 1853, when he was forty-nine and at the height of his literary career, Nathaniel Hawthorne accepted the post of U.S. consul at Liverpool, England, as a reward for writing the campaign biography of his college friend President Franklin Pierce. Hawthorne’s departure for Europe marked a turning point in his life. While Our Old Home, shrewd essays on his observations in England, The Marble Faun, a romance set in Italy, and the English Notebooks and French and Italian Notebooks were all results of his European residence, he returned to Concord in 1860 frustrated, depressed, and sick. He died in 1864.
Shimakawa looks at the origins of Asian American theater, particularly through the memories of some of its pioneers. Her examination of the emergence of Asian American theater companies illuminates their strategies for countering the stereotypes of Asian Americans and the lack of visibility of Asian American performers within the theater world. She shows how some plays—Wakako Yamauchi’s 12-1-A, Frank Chin’s Chickencoop Chinaman, and The Year of the Dragon—have both directly and indirectly addressed the displacement of Asian Americans. She analyzes works attempting to negate the process of abjection—such as the 1988 Broadway production of M. Butterfly as well as Miss Saigon, a mainstream production that enacted the process of cultural displacement both onstage and off. Finally, Shimakawa considers Asian Americanness in the context of globalization by meditating on the work of Ping Chong, particularly his East-West Quartet.
Contributors. Jonathan Arac, Lauren Berlant, Robert J. Corber, Elizabeth Freeman, Kathryn V. Lingberg, Jack Matthews, Alan Nadel, Patrick O'Donnell, Daniel O'Hara, Donald E. Pease, Ross Posnock, John Carlos Rowe, Rob Wilson
A compelling reclamation of the place of aesthetics in postcolonial literature
Literature though it may be, postcolonial literature is studied and understood largely—and often solely—in social and political terms. In neglecting its aesthetic dimension, as this book forcefully demonstrates, we are overlooking not only an essential aspect of this literature but even a critical perspective on its sociopolitical function and value. In Native Intelligence, Deepika Bahri focuses on postcolonial literature’s formal and aesthetic negotiations with sociopolitical concerns.
How, Bahri asks, do aesthetic considerations contest the social function of postcolonial literature? In answering, her book takes on two tasks: First, it identifies the burden of representation borne by postcolonial literature through its progressive politicization. Second, it draws on Frankfurt School critical theory to reclaim a place for aesthetics in literary representation by closely engaging works of Rohinton Mistry, Salman Rushdie, and Arundhati Roy. Throughout, Bahri shows how attention to the aesthetic innovations and utopian impulses of postcolonial works uncovers their complex and uneven relationship to ideology, reanimating their potential to make novel contributions to the larger project of social liberation.Gloria Anzaldua Book Prize, National Women's Studies Association, 2009
In the early twentieth century, three women of color helped shape a new world of ethnographic discovery. Ella Cara Deloria, a Sioux woman from South Dakota, Zora Neale Hurston, an African American woman from Florida, and Jovita González, a Mexican American woman from the Texas borderlands, achieved renown in the fields of folklore studies, anthropology, and ethnolinguistics during the 1920s and 1930s. While all three collaborated with leading male intellectuals in these disciplines to produce innovative ethnographic accounts of their own communities, they also turned away from ethnographic meaning making at key points in their careers and explored the realm of storytelling through vivid mixed-genre novels centered on the lives of women.
In this book, Cotera offers an intellectual history situated in the "borderlands" between conventional accounts of anthropology, women's history, and African American, Mexican American and Native American intellectual genealogies. At its core is also a meditation on what it means to draw three women—from disparate though nevertheless interconnected histories of marginalization—into conversation with one another. Can such a conversation reveal a shared history that has been erased due to institutional racism, sexism, and simple neglect? Is there a mode of comparative reading that can explore their points of connection even as it remains attentive to their differences? These are the questions at the core of this book, which offers not only a corrective history centered on the lives of women of color intellectuals, but also a methodology for comparative analysis shaped by their visions of the world.
Examining the intersection of Palestine solidarity movements and antiracist activism in France from the 1970s to the present
For the pasty fifty years, the Palestinian question has served as a rallying cry in the struggle for migrant rights in postcolonial France, from the immigrant labor associations of the 1970s and Beur movements of the 1980s to the militant decolonial groups of the 2000s. In Natives against Nativism, Olivia C. Harrison explores the intersection of anticolonial solidarity and antiracist activism from the 1970s to the present.
Natives against Nativism analyzes a wide range of texts—novels, memoirs, plays, films, and militant archives—that mobilize the twin figures of the Palestinian and the American Indian in a crossed critique of Eurocolonial modernity. Harrison argues that anticolonial solidarity with Palestinians and Indigenous Americans has been instrumental in developing a sophisticated critique of racism across imperial formations—in this case, France, the United States, and Israel.
Serving as the first relational study of antiracism in France, Natives against Nativism observes how claims to indigeneity have been deployed in multiple directions, both in the ongoing struggle for migrant rights and racial justice, and in white nativist claims in France today.
This new study offers a general reassessment of H. G. Wells as a writer and thinker. It concentrates upon the close relationship between Wells’ developing philosophy and his literary techniques. The early chapters examine Wells’ treatment of such subjects as confinement and escape, sex, the nature of human identity, the relationship of individual to race, human progress, and the importance of education. At the same time, the describe the emotional topography that Wells created as a mean of vivifying his ideas, a topography constructed from image complexes largely based upon the analogy between individual and racial evolution.
The major contribution of the book comes in its later chapters, which deal with Wells’ metaphysical assumptions and his approach to his craft. His views on free will and strength of will were intimately related to his methods of literary composition. The important later chapters detail this relationship, while describing some of Wells’ characteristic literary devices, such as the intentional violations of certain novelistic conventions or the sly borrowing from and alluding to contemporary works of literature in what amounted to a covert polemic.
On the whole, this study argues for a coherent and consistent, though developing, philosophy operating throughout Wells’ career and manifested in experimental literary works which, while not always successful, were consistently inventive and intelligently crafted in the service of Wells’ principle aim, the education of the human species to a command of its own destiny.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
An unrivaled compendium of ancient Roman knowledge.
Pliny the Elder, Gaius Plinius Secundus (AD 23–79), a Roman of equestrian rank of Transpadane Gaul (N. Italy), was uncle of Pliny the letter writer. He pursued a career partly military in Germany, partly administrative in Gaul and Spain under the emperor Vespasian, and became prefect of the fleet at Misenum. He died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works now lost; but his great Natural History in thirty-seven books with its vast collection of facts (and alleged facts) survives—a mine of information despite its uncritical character.
The contents of the books are as follows. Book 1: table of contents of the others and of authorities; 2: mathematical and metrological survey of the universe; 3–6: geography and ethnography of the known world; 7: anthropology and the physiology of man; 8–11: zoology; 12–19: botany, agriculture, and horticulture; 20–27: plant products as used in medicine; 28–32: medical zoology; 33–37: minerals (and medicine), the fine arts, and gemstones.
The Loeb Classical Library edition of Natural History is in ten volumes.
Following nature in pursuit of ethics.
Seneca, Lucius Annaeus, born at Corduba (Cordova) ca. 4 BC, of a prominent and wealthy family, spent an ailing childhood and youth at Rome in an aunt’s care. He became famous in rhetoric, philosophy, money-making, and imperial service. After some disgrace during Claudius’ reign he became tutor and then, in AD 54, advising minister to Nero, some of whose worst misdeeds he did not prevent. Involved (innocently?) in a conspiracy, he killed himself by order in 65. Wealthy, he preached indifference to wealth; evader of pain and death, he preached scorn of both; and there were other contrasts between practice and principle.
We have Seneca’s philosophical or moral essays (ten of them traditionally called Dialogues)—on providence, steadfastness, the happy life, anger, leisure, tranquility, the brevity of life, gift-giving, forgiveness—and treatises on natural phenomena. Also extant are 124 epistles, in which he writes in a relaxed style about moral and ethical questions, relating them to personal experiences; a skit on the official deification of Claudius, Apocolocyntosis (in LCL 15); and nine rhetorical tragedies on ancient Greek themes. Many epistles and all his speeches are lost.
The treatises on natural phenomena, Naturales Quaestiones, are collected in Volumes VII and X of the Loeb Classical Library’s ten-volume edition of Seneca.
Following nature in pursuit of ethics.
Seneca, Lucius Annaeus, born at Corduba (Cordova) ca. 4 BC, of a prominent and wealthy family, spent an ailing childhood and youth at Rome in an aunt’s care. He became famous in rhetoric, philosophy, money-making, and imperial service. After some disgrace during Claudius’ reign he became tutor and then, in AD 54, advising minister to Nero, some of whose worst misdeeds he did not prevent. Involved (innocently?) in a conspiracy, he killed himself by order in 65. Wealthy, he preached indifference to wealth; evader of pain and death, he preached scorn of both; and there were other contrasts between practice and principle.
We have Seneca’s philosophical or moral essays (ten of them traditionally called Dialogues)—on providence, steadfastness, the happy life, anger, leisure, tranquility, the brevity of life, gift-giving, forgiveness—and treatises on natural phenomena. Also extant are 124 epistles, in which he writes in a relaxed style about moral and ethical questions, relating them to personal experiences; a skit on the official deification of Claudius, Apocolocyntosis (in LCL 15); and nine rhetorical tragedies on ancient Greek themes. Many epistles and all his speeches are lost.
The treatises on natural phenomena, Naturales Quaestiones, are collected in Volumes VII and X of the Loeb Classical Library’s ten-volume edition of Seneca.
In this original study, Gabriel Horowitz examines the work of select nineteenth- and twentieth-century Latin American writers through the lens of contemporary theoretical debates about nature, postcoloniality, and national identity. In the work of José Martí, Gertrudis Gómez de Avellaneda, Jorge Luis Borges, Augusto Roa Bastos, Cesar Aira, and others, he traces historical constructions of nature in regional intellectual traditions and texts as they inform political culture on the broader global stage. By investigating national literary discourses from Cuba, Argentina, and Paraguay, he identifies a common narrative thread that imagines the utopian wilderness of the New World as a symbolic site of independence from Spain. In these texts, Horowitz argues, an expressed desire to return to the nation’s foundational nature contributed to a movement away from political and social engagement and toward a “biopolitical state,” in which nature, traditionally seen as pre-political, conversely becomes its center.
In The Nature of Trauma in the American Novel, Michelle Balaev undertakes an ambitious rethinking of the foundations, implementations, and new possibilities of literary trauma theory.
In Nature's Kindred Spirits James McClintock shows how their mystical experiences with the wild led to dramatic conversions in their thinking and behavior. By embracing the ecstasy of nature, they reject modern alienation and spiritual confusion.
From Aldo Leopold, America’s most important conservationist and author of the classic A Sand County Almanac, to Pulitzer Prize winners Annie Dillard and Gary Snyder and defenders of the desert Joseph Wood Krutch and Edward Abbey, these writers share a common vision that harkens back to Henry David Thoreau and John Muir. To nineteenth-century Romantic ideals, they add the authority of modern ecological science. Collectively they have elevated nature’s importance in American culture, shaping the growth of the environmental movement and influencing American environmental policies.
Widely admired among educated readers but relatively neglected by the literary establishment, these writers unite the experiential with the metaphysical, the ordinary with the sacred, the personal with the public, and the natural with the social. Using ecology as a touchstone, McClintock further draws connections among science, politics, religion, and philosophy to create an enlightening overview of the work of these “kindred spirits.”
In four elegant chapters, Robert Alter explains the prismlike radiance created by the association of three modern masters: Franz Kafka, Walter Benjamin, and Gershom Scholem. The volume pinpoints the intersections of these divergent witnesses to the modern condition of doubt, the no-man’s-land between traditional religion and modern secular culture.
Scholem, the devoted Zionist and master historian of Jewish mysticism, and Benjamin, the Marxist cultural critic, dedicated much of their thought and correspondence to Kafka, the explorer in fiction of radical alienation. Kafka’s sense of spiritual complexities was an inspiration to both thinkers in their resistance to the murderous simplification of totalitarian ideology. In Necessary Angels, Alter uncovers a moment when the future of modernism is revealed in its preoccupation with the past. The angel of the title is first Kafka’s: on June 25, 1914, the writer recorded in his diary a dream vision of an angel that turned into the painted wooden figurehead of a ship. In 1940, at the end of his life, Walter Benjamin devoted the ninth of his Theses on the Philosophy of History to a meditation on an angel by the artist Paul Klee, first quoting a poem he had written on that painting. In Benjamin’s vision, the figure from Klee becomes an angel of history, sucked into the future by the storm of progress, his face looking back to Eden. Benjamin bequeathed the Klee oil painting to Scholem; it hung in the living room of Scholem’s home on Abarbanel Street in Jerusalem until 1989, when his widow placed it in the Israel Museum.
Alter’s focus on the epiphanic force of memory on these three great modernists shows with sometimes startling, sometimes prophetic clarity that a complete break with tradition is not essential to modernism. Necessary Angels itself continues the necessary discovery of the future in the past.
The Necessary Earth is a study of the degree to which the long American experience with an open frontier has entered into an inherently American literature to distinguish it from that of other lands. Since literature is, in the author’s words, “a compound of time, place, and the individual projection of personal experience and reflection into objective forms,” the American compulsion to communicate their experience and their difference was a virtual guarantee that a native literature would arrive.
The text falls into three major portions. The first considers the “age of wonder,” the impact of New World upon Old World comers to effect profound changes, and to set the new American on the parallel paths of idealism and pragmatism. The second part examines the effort of native-born writers to appropriate this experience for new metaphors and new literary theme. Without this effort, the frontier might have remained no more than a dwindling legend, and the transference to the theme of self-reliance might never have appeared. In the third portion the author turns to the twentieth century, examining here the degree to which the national theme of reliance on experience over tradition has persisted in the work of major authors.
Ranging thus from Jamestown and Plymouth to Wallace Stevens, the book stresses, throughout, the pull of untamed nature on the human spirit, and the echoes of that experience in what is most intrinsic in American literature. Without denying frontier lawlessness or native chauvinism, Clough directs our attention primarily to the problems of the creation of a new language and a new metaphor to meet the new experience, and the persistence of a truly American note into a maturing of both manner and matter.
Tea drinking in Victorian England was a pervasive activity that, when seen through the lens of a century’s perspective, presents a unique overview of Victorian culture. Tea was a necessity and a luxury; it was seen as masculine as well as feminine; it symbolized the exotic and the domestic; and it represented both moderation and excess. Tea was flexible enough to accommodate and to mark subtle differences in social status, to mediate these differences between individuals, and to serve as a shared cultural symbol within England.
In A Necessary Luxury: Tea in Victorian England, Julie E. Fromer analyzes tea histories, advertisements, and nine Victorian novels, including Alice’s Adventures in Wonderland, Wuthering Heights, and Portrait of a Lady. Fromer demonstrates how tea functions within the literature as an arbiter of taste and middle-class respectability, aiding in the determination of class status and moral position. She reveals the way in which social identity and character are inextricably connected in Victorian ideology as seen through the ritual of tea.
Drawing from the fields of literary studies, cultural studies, history, and anthropology, A Necessary Luxury offers in-depth analysis of both visual and textual representations of the commodity and the ritual that was tea in nineteenth-century England.
The Necromantics dwells on the literal afterlives of history. Reading the reanimated corpses—monstrous, metaphorical, and occasionally electrified—that Mary Shelley, Robert Browning, Charles Dickens, W. B. Yeats, Bram Stoker, and others bring to life, Renée Fox argues that these undead figures embody the present’s desire to remake the past in its own image. Fox positions “necromantic literature” at a nineteenth-century intersection between sentimental historiography, medical electricity, imperial gothic monsters, and the Irish Literary Revival, contending that these unghostly bodies resist critical assumptions about the always-haunting power of history.
By considering Irish Revival texts within the broader scope of nineteenth-century necromantic works, The Necromantics challenges Victorian studies’ tendency to merge Irish and English national traditions into a single British whole, as well as Irish studies’ postcolonial efforts to cordon off a distinct Irish canon. Fox thus forges new connections between conflicting political, formal, and historical traditions. In doing so, she proposes necromantic literature as a model for a contemporary reparative reading practice that can reanimate nineteenth-century texts with new aesthetic affinities, demonstrating that any effective act of reading will always be an effort of reanimation.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press