First published in 1986, this book offers the Latin text and English translation of a pivotal work by one of the most influential and controversial writers of early modern times. Pierre de la Ramée, better known as Peter Ramus, was a college instructor in Paris who published a number of books attacking and attempting to refute foundational texts in philosophy and rhetoric. He began in the early 1540s with books on Aristotle—which were later banned and burned—and Cicero, and later, in 1549, he published Rhetoricae Distinctiones in Quintilianum. The purpose of Ramus’s book is announced in the opening paragraph of its dedication to Charles of Lorraine: “I have a single argument, a single subject matter, that the arts of dialectic and rhetoric have been confused by Aristotle, Cicero, and Quintilian. I have previously argued against Aristotle and Cicero. What objection then is there against calling Quintilian to the same account?”
Carole Newlands’s excellent translation—the first in modern English—remains the standard English version. This volume also provides the original Latin text for comparative purposes. In addition, James J. Murphy’s insightful introduction places the text in historical perspective by discussing Ramus’s life and career, the development of his ideas, and the milieu in which his writings were produced. This edition includes an updated bibliography of works concerning Ramus, rhetoric, and related topics.
Dance and literary studies have traditionally been at odds: dancers and dance critics have understood academic analysis to be overly invested in the mind at the expense of body signification; literary critics and theorists have seen dance studies as anti-theoretical, even anti-intellectual.
When the Mahabharata and Ramayana are performed in South and Southeast Asia, audiences may witness a variety of styles. A single performer may deliver a two-hour recitation, women may meet in informal singing groups, shaddow puppets may host an all-night play, or professional theaters may put on productions lasting thirty nights. Performances often celebrate ritual passages: births, deaths, marriages, and religious observances. The stories live and are transmitted through performance; their characters are well known and well loved.
Yet written versions of the Mahabharata and Ramayana have existed in both South and Southeast Asia for hundreds of years. Rarely have these texts been intended for private reading. What is the relationship between written text and oral performance? What do performers and audiences mean when they identify something as “Ramayana” or “Mahabharata”? How do they conceive of texts? What are the boundaries of the texts?
By analyzing specific performance traditions, Boundaries of the Text addresses questions of what happens to written texts when they are preformed and how performance traditions are affected when they interact with written texts. The dynamics of this interaction are of particular interest in South and Southeast Asia where oral performance and written traditions share a long, interwoven history. The contributors to Boundaries of the Text show the difficulty of maintaining sharp distinctions between oral and written patterns, as the traditions they consider defy a unidirectional movement from oral to written. The boundaries of epic traditions are in a state of flux, contracting or expanding as South and Southeast Asian societies respond to increasing access to modern education, print technology, and electronic media.
In this companion volume to History and Mythology of the Aztecs, John Bierhorst provides specialists with a transcription of the Nahuatl text, keyed to the translation, and a linguistic apparatus to help elucidate it. The glossary offers definitions for all unusual usages in the codex, as well as careful treatment of many of the commonest (and most semantically flexible) verbs, adverbs, and particles. Detailed discussions of selected features appear in the Grammatical Notes, which complete the work.
Crossings in Text and Textile
Katherine Joslin University of New Hampshire Press, 2015 Library of Congress PN56.C684C76 2015 | Dewey Decimal 809.933564
Crossings in Text and Textile explores the diverse range of transatlantic representations of clothing in nineteenth- and early twentieth-century literature. This collection of essays demonstrates that fashion history and literary history, when examined together, prompt fresh understandings of the complexities of race, class, and sexual identity. By bridging material culture and discourse, Crossings establishes the significance of fashion—while neglecting none of its aesthetic appeal—to offer historicized readings on a variety of topics, from Jane Austen's nuanced display of social interactions through the economics of muslin to the 1871 Park and Boulton cross-dressing trial and Jessie Fauset's selection of apparel to express racial power. The geographic span of textiles from different economic areas around the globe includes Asia, Africa, Europe, and North America. By making use of transatlantic texts to consider the political and social positioning of both workers and consumers, the collection further expands upon the emerging cross-disciplinary study of reading dress.
A true "state of the field" work, Crossings in Text and Textile charts new scholarly ground at the nexus between fashion, textiles, and literature, appealing to a broad interdisciplinary audience of scholars and students.
Dario Fo: Stage, Text, and Tradition
Edited by Joseph Farrell and Antonio Scuderi Southern Illinois University Press, 2000 Library of Congress PQ4866.O2Z63 2000 | Dewey Decimal 852.914
Joseph Farrell and Antonio Scuderi present an international collection of essays reevaluating the multifaceted performance art of Nobel laureate Dario Fo.
The contributors, all of whom either have previously published on Fo or have worked with him, are the major Dario Fo scholars of three continents. Going beyond the Marxist criticism of the 1970s and 1980s, the editors and contributors try to establish an appropriate language in which to debate Fo’s theater. They seek to identify the core of Fo’s work, the material that will be of lasting value. This involves locating Fo in history, examining the nature of his development through successive phases, incorporating his politics into a wider framework of radical dissent, and setting his theatrical achievements in a context and a tradition.
The essays cover every aspect of Dario Fo: as actor, playwright, performer, and songwriter. They also provide the historical background of Fo’s theater, as well as an in-depth analyses of specific works and the contribution of Franca Rame.
This book is a study of August Strindberg’s famous drama Miss Julie, presented in both Swedish and English. Since it was first performed in 1888, Miss Julie has became one of the most successful plays written by Strindberg, widely considered one of the pioneers of modern drama. The book provides a penetrating analysis of the author’s text, followed by a close investigation of Ingmar Bergman’s much lauded 1985 production at the Royal Dramatic Theatre in Stockholm. Drama as Text and Performance is intended as a paradigmatic illustration of similarities and differences between the two media—textand performance and their recipients, readers and spectators.
The Emancipation Proclamation is responsible both for Lincoln’s being hailed as the Great Emancipator and for his being pilloried by those who consider his once-radical effort at emancipation insufficient. Holzer examines the impact of Lincoln’s announcement at the moment of its creation, and then as its meaning has changed over time.
How do literary illustrations affect the way we read—or more subtly, what we read? Through a critical investigation of the role of engraving played in eighteenth-century French literature, Philip Stewart grapples with this question. In both its approach and its conclusions, his project marks a provocative departure from the tradition of viewing illustrations as merely pictures, rather than as texts to be interpreted themselves. Focusing on the objectification of women by the “male gaze,” Stewart analyzes the varous ways in which this masculine power is simultaneously represented and veiled: the fascination with women playing “male” roles, such as soldiers; the preponderance of voyeuristic images of the naked female body; the transformation of male power into hostile forces of nature that render women helpless. Further, Stewart shows how “indecent” engravings that purported to test the limits of eighteenth-century morality often merely reinforced prevailing images of women. Addressing critical concerns about the societal enforcement of gender roles in literature along with essential questions about the function of illustration, Engraven Desire provides surprising insight into the culturally conditioned act of reading. Stewart’s work, itself richly illustrated with hundreds of arresting reproductions, makes a significant contribution to our understanding of the interplay of art, literature, and society.
In the summer of 1922, Ezra Pound viewed the church of San Francesco in Rimini, Italy, for the first time. Commonly known as the Tempio Malatestiano, the edifice captured his imagination for the rest of his life. Lawrence S. Rainey here recounts an obsession that links together the whole of Pound's poetic career and thought.
Written by Pound in the months following his first visit, the four poems grouped as "The Malatesta Cantos" celebrate the church and the man who sponsored its construction, Sigismondo Malatesta. Upon receiving news of the building's devastation by Allied bombings in 1944, Pound wrote two more cantos that invoked the event as a rallying point for the revival of fascist Italy. These "forbidden" cantos were excluded from collected editions of his works until 1987. Pound even announced an abortive plan in 1958 to build a temple inspired by the church, and in 1963, at the age of eighty, he returned to Rimini to visit the Tempio Malatestiano one last, haunting time.
Drawing from hundreds of unpublished materials, Rainey explores the intellectual heritage that surrounded the church, Pound's relation to it, and the interpretation of his work by modern critics. The Malatesta Cantos, which have been called "one of the decisive turning-points in modern poetics" and "the most dramatic moment in The Cantos," here engender an intricate allegory of Pound's entire career, the central impulses of literary modernism, the growth of intellectual fascism, and the failure of critical culture in the twentieth century. Included are two-color illustrations from the 1925 edition of Pound's cantos and numerous black-and-white photographs.
For centuries, social life in rural Tuscany has centered around the veglia, an evening gathering of family and friends at the hearth. Folklore by the Fireside is a thorough and insightful study of this custom—from the tales, riddles, lullabies, and folk prayers performed as the small children are put to bed to the courtship songs and dances later in the evening to the anti-veglia male gossip, card games, and protest songs originating in the tavern. Alessandro Falassi skillfully correlates the veglia to the rites of passage and family values of an agrarian society. Although the impact of mass media and other factors has tended to weaken the tradition, even today Tuscan children are taught to behave and adolescents are guided along the conventional path to adulthood, courtship, and marriage through veglia folklore. This is the first work to deal systematically with Tuscan folklore from a semiotic and structural viewpoint and to examine the veglia as a means of handing down traditional values. It is important not only for its careful, detailed description but also for its rigorous methodology and theoretical richness.
The volume deals with the interaction between syntax, informational structure (or functional sentence perspective), and text in present-day English and Czech. Libuše Dušková focuses on the two facets of functional sentence perspective: syntactic structures as carriers of informational structure functions and the connection of functional sentence perspective within the level of text. Functional sentence perspective is investigated as a potential factor of syntactic divergence between English and Czech, and the role of functional sentence perspective is examined with respect to theme development, text build-up, and style. Other topics include the hierarchical relationship between syntax and functional sentence perspective and general and specific questions of word order, with major attention paid to the role of semantics.
From Text to Action: Essays in Hermeneutics, II
Paul Ricoeur, Translated from the French by Kathleen Blamey and John B. Thompson, Foreword to the new edition by Richard Kearney Northwestern University Press, 2007 Library of Congress B2430.R553D813 2007 | Dewey Decimal 194
Incredible originality of thought in areas as vast as phenomenology, religion, hermeneutics, psychoanalysis, intersubjectivity, language, Marxism, and structuralism has made Paul Ricoeur one of the philosophical giants of the twentieth century. The way in which Ricoeur approaches these themes makes his works relevant to the reader today: he writes with honesty and depth of insight into the core of a problem, and his ability to mark for future thought the very path of philosophical inquiry is nearly unmatched.
From Text to Action is an essential companion to the classic The Conflict of Interpretations. Here, Ricoeur continues and extends his project of constructing a general theory of interpretation, positioning his work in relation to its philosophical background: Hegel, Husserl, Gadamer, and Weber. He also responds to contemporary figures like K. O. Apel and Jürgen Habermas, connecting his own theorization of ideology to their critique of ideology.
This new edition includes a foreword by Richard Kearney. It and other new editions of Ricoeur's texts published by Northwestern University Press have joined the canon of contemporary continental philosophy and continue to contribute to emergent discussions in the twenty-first century.
With his writings on phenomenology, psychoanalysis, Marxism, ideology, and religion, Paul Ricoeur has single-handedly redefined and revitalized the hermeneutic tradition. From Text to Action is an essential companion to the now classic The Conflict of Interpretations. Here, Ricoeur continues and extends his project of constructing a general theory of interpretation, positioning his work in relation to its own philosophical background: Hegel, Husserl, Gadamer, and Weber. He also responds to contemporary figures like K.O. Apel and Jürgen Habermas, connecting his own theorization of ideology to their version of ideology critique.
Robert L. Belknap is the author of The Structure of "The Brothers Karamazov," which is generally regarded as one of the best studies on Dostoevsky produced by the present generation of scholars. The Genesis of "The Brothers Karamazov" continues and complements Belknap's earlier work, tracing Dostoevsky's last, great novel to its sources and exploring the works Dostoevsky read and consciously employed in constructing it.
In a work with profound implications for the electronic age, Ivan Illich explores how revolutions in technology affect the way we read and understand text.
Examining the Didascalicon of Hugh of St. Victor, Illich celebrates the culture of the book from the twelfth century to the present. Hugh's work, at once an encyclopedia and guide to the art of reading, reveals a twelfth-century revolution as sweeping as that brought about by the invention of the printing press and equal in magnitude only to the changes of the computer age—the transition from reading as a vocal activity done in the monastery to reading as a predominantly silent activity performed by and for individuals.
Stanley Fish is one of America’s most stimulating literary theorists. In this book, he undertakes a profound reexamination of some of criticism’s most basic assumptions. He penetrates to the core of the modern debate about interpretation, explodes numerous misleading formulations, and offers a stunning proposal for a new way of thinking about the way we read.
Fish begins by examining the relation between a reader and a text, arguing against the formalist belief that the text alone is the basic, knowable, neutral, and unchanging component of literary experience. But in arguing for the right of the reader to interpret and in effect create the literary work, he skillfully avoids the old trap of subjectivity. To claim that each reader essentially participates in the making of a poem or novel is not, he shows, an invitation to unchecked subjectivity and to the endless proliferation of competing interpretations. For each reader approaches a literary work not as an isolated individual but as part of a community of readers. “Indeed,” he writes, “it is interpretive communities, rather than either the text or reader, that produce meanings.”
The book is developmental, not static. Fish at all times reveals the evolutionary aspect of his work—the manner in which he has assumed new positions, altered them, and then moved on. Previously published essays are introduced by headnotes which relate them to the central notion of interpretive communities as it emerges in the final chapters. In the course of refining his theory, Fish includes rather than excludes the thinking of other critics and shows how often they agree with him, even when he and they may appear to be most dramatically at odds. Engaging, lucid, provocative, this book will immediately find its place among the seminal works of modern literary criticism.
This collection brings together newly commissioned and cutting-edge essays on oral text and tradition ranging from the ancient and medieval world to the present day by a leading group of European and North American oral theorists. Using a range of materials including the Bible, Greek epic, Beowulf, Old Norse and Old English riddles, and medieval music, the contributors collectively work to refine, challenge, and further advance contemporary Oral Theory, an interdisciplinary school of thought heavily influenced by John Miles Foley, whose work provides the jumping-off point for this volume. The book includes a useful introduction to the history of oral theory and Foley’s ground-breaking and influential work.
Composed in Old French between about 1220 and 1240, the Lancelot-Grail Cycle is a group of five prose romances centered on the love affair between Lancelot and Guenevere. It consists of an immense central core, the Lancelot Proper, introduced by The History of the Holy Grail and The Story of Merlin and concluded by The Quest for the Holy Grail and The Death of Arthur.
This volume brings together thirteen essays by noted scholars from the first symposium ever devoted exclusively to the Lancelot-Grail Cycle. Exploring the cycle's evolution across the literatures of medieval France, Italy, Spain, Catalonia, and England, the authors take a variety of approaches that highlight a broad range of cultural, social, historical, and political concerns and offer a comparative and interdisciplinary vision of this great romance.
Admirably clear, concise, down-to-earth, and powerful-unfortunately, these adjectives rarely describe legal writing, whether in the form of briefs, opinions, contracts, or statutes. In Legal Writing in Plain English, Bryan A. Garner provides lawyers, judges, paralegals, law students, and legal scholars sound advice and practical tools for improving their written work. The book encourages legal writers to challenge conventions and offers valuable insights into the writing process: how to organize ideas, create and refine prose, and improve editing skills. In essence, it teaches straight thinking—a skill inseparable from good writing.
Replete with common sense and wit, the book draws on real-life writing samples that Garner has gathered through more than a decade of teaching in the field. Trenchant advice covers all types of legal materials, from analytical and persuasive writing to legal drafting. Meanwhile, Garner explores important aspects of document design. Basic, intermediate, and advanced exercises in each section reinforce the book's principles. (An answer key to basic exercises is included in the book; answers to intermediate and advanced exercises are provided in a separate Instructor's Manual, free of charge to instructors.) Appendixes include a comprehensive punctuation guide with advice and examples, and four model documents.
Today more than ever before, legal professionals cannot afford to ignore the trend toward clear language shorn of jargon. Clients demand it, and courts reward it. Despite the age-old tradition of poor writing in law, Legal Writing in Plain English shows how legal writers can unshackle themselves.
Legal Writing in Plain English includes:
*Tips on generating thoughts, organizing them, and creating outlines.
*Sound advice on expressing your ideas clearly and powerfully.
*Dozens of real-life writing examples to illustrate writing problems and solutions.
*Exercises to reinforce principles of good writing (also available on the Internet).
*Helpful guidance on page layout.
*A punctuation guide that shows the correct uses of every punctuation mark.
*Model legal documents that demonstrate the power of plain English.
Admirably clear, concise, down-to-earth, and powerful—all too often, legal writing embodies none of these qualities. Its reputation for obscurity and needless legalese is widespread. Since 2001 Bryan A. Garner’s Legal Writing in Plain English has helped address this problem by providing lawyers, judges, paralegals, law students, and legal scholars with sound advice and practical tools for improving their written work. Now the leading guide to clear writing in the field, this indispensable volume encourages legal writers to challenge conventions and offers valuable insights into the writing process that will appeal to other professionals: how to organize ideas, create and refine prose, and improve editing skills.
Accessible and witty, Legal Writing in Plain English draws on real-life writing samples that Garner has gathered through decades of teaching experience. Trenchant advice covers all types of legal materials, from analytical and persuasive writing to legal drafting, and the book’s principles are reinforced by sets of basic, intermediate, and advanced exercises in each section.
In this new edition, Garner preserves the successful structure of the original while adjusting the content to make it even more classroom-friendly. He includes case examples from the past decade and addresses the widespread use of legal documents in electronic formats. His book remains the standard guide for producing the jargon-free language that clients demand and courts reward.
The Margins of the Text
D. C. Greetham, Editor University of Michigan Press, 1997 Library of Congress PR21.M29 1997 | Dewey Decimal 820.9
These days, the margins have become a powerful position from which to mount a critique of contemporary society, culture, and text. From gay and lesbian studies to postcolonial or "subaltern" criticism, formerly marginalized perspectives have brought provocative new insights into many fields of inquiry. But until comparatively recently, the extremely powerful, even culture-defining, discourse of textual editing has been immune to such influences. The Margins of the Text is the first attempt to collect a body of essays concerned with specific aspects of the marginal as they relate to text. The volume is divided into two sections. The first part assembles essays concerned with the margins of textual discourse and explores the function of discourses not previously recognized as significant to scholarly editing, such as those of class, race, gender, and sexual orientation. The second section attends to the textual margins in the bibliographical sense--the margins of the book, in which there has been so much recent interest. The two parts of the collection are clearly interrelated, since both study the effects of margins as a form of cultural discourse.
As a whole, the collection spans several periods (medieval, Renaissance, eighteenth-century to modern), several disciplines (drama, literature, art history, politics, and philosophy), and offers a wide-ranging consideration of a single topic as it is manifested in various genres, formats, and media. The contributors are among the most respected textual/critical theorists in their fields. The Margins of the Text will become a standard reference in the field, and will be read profitably by culture critics and social historians as well as textual critics and editors.
D. C. Greetham is Professor of English and Medieval Studies, City University of New York Graduate School.
The Mirror in the Text
Lucien Dällenbach University of Chicago Press, 1989 Library of Congress PN3355.D2313 1989 | Dewey Decimal 808.3
The Mirror in the Text is concerned with the literary and artistic device of mise en abyme, the use of an element within a work which mirrors the work as a whole—like the 'play within a play' in Hamlet.
In this classic study, Lucien Dällenbach provides the first systematic analysis of this device and its literary and artistic applications from Van Eyck and Velasquez to Gide, Beckett and the French nouveau roman.
Alongside this wealth of examples, Dällenbach constructs his theoretical argument with elegance and clarity, assuming no previous knowledge of arcane and specialized theory, but guiding the reader helpfully through the maze of literary criticism. The result is a new conceptual field, a new grammar of the mise en abyme, and an examination of its function within the work of art and literature.
The highly original study has been acclaimed as one of the most important works of contemporary literary theory. It will be of interest to all students of English and European literature, as well as to students of the visual arts.
Like the symphonies of Beethoven, Mozart's piano concertos constitute an extraordinary body of work that will never disappear from our culture. Yet despite widespread recognition of their importance, they still present many interpretive problems. In 1989, the Michigan MozartFest brought expert performers, instrument makers, critics, music theorists, and musicologists together for the first symposium devoted exclusively to Mozart's piano concertos. The twenty-one essays in Mozart's Piano Concertos, culled from that event, richly broaden our understanding of this corpus.
The volume's first section consists of commentaries on the texts of the concertos, including thoughts on creating a critical edition. In subsequent sections, contributors analyze the structure of the pieces and the circumstances in which they were first composed and performed. How do these works compare with other concertos of the period? Where were Mozart's contributions truly original, where conventional? What musical references did he expect his listeners to catch?
Generously illustrated with facsimiles, tables, and more than one-hundred musical examples, Mozart's Piano Concertos substantially advances our understanding of these wonderful works. Its exceptional scope--addressing everything from textual problems (what notes should be played?) to performance practice (how can we make the music sound more nearly as Mozart heard it?)--will make it invaluable to anyone who loves his piano concertos. Contributors:
V. Kofi Agawu, Wye Jameson Allanbrook, Eva Badura-Skoda, Karol Berger, Richard Crawford, Ellwood Derr, Dexter Edge, Cliff Eisen, Martha Feldman, David Grayson, William Kinderman, Robert D. Levin, Janet M. Levy, David Rosen, Carl Schachter, Elaine Sisman, Jane R. Stevens, Alan Tyson, James Webster, Christoph Wolff, and Neal Zaslaw.
Neal Zaslaw is Professor of Music, Cornell University.
Nikolai Klyuev is the first book in English to examine the life and work of this enigmatic poet. Klyuev (1884–1937) rose to prominence in the early twentieth century as the first of the so-called "new peasant poets" but later fell victim to Stalinist hostility to both his cultural ideology and his homosexuality. He was arrested and exiled in 1933, then shot in 1937.
Klyuev’s work incorporates rich elements of folklore, mysticism, politics, and religion, and he sometimes invokes arcane Russian syntax and vocabulary. Makin’s feat is particularly notable because Klyuev was often elusive in his own accounts of his life, and Makin successfully brings into focus the poet’s deliberate strategies of self-mythologization. Nikolai Klyuev is an indispensable guide to the life and the work of an important poet winning wider recognition outside of Russia.
An entertaining reworking of the most popular branch of the Old French tale of Reynard the Fox, the mid-thirteenth century Dutch epic Van den vos Reynaerde is one of the earliest long literary works in the Dutch vernacular. Sly Reynaert and a cast of other comical woodland characters find themselves again and again caught up in escapades that often provide a satirical commentary on human society.
This charmingly volume is the first bilingual edition of the tale, featuring facing pages with an English translation by Thea Summerfield, making the undisputed masterpiece of medieval Dutch literature accessible to a wide international audience. Accompanying the critical text and parallel translation are an introduction, interpretative notes, an index of names, a complete glossary, and a short introduction to Middle Dutch.
Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature.
To set the stage, Kusukawa begins with a survey of the technical, financial, artistic, and political conditions that governed the production of printed books during the Renaissance. It was during the first half of the sixteenth century that learned authors began using images in their research and writing, but because the technology was so new, there was a great deal of variety of thought—and often disagreement—about exactly what images could do: how they should be used, what degree of authority should be attributed to them, which graphic elements were bearers of that authority, and what sorts of truths images could and did encode. Kusukawa investigates the works of Fuchs, Gessner, and Vesalius in light of these debates, scrutinizing the scientists’ treatment of illustrations and tracing their motivation for including them in their works. What results is a fascinating and original study of the visual dimension of scientific knowledge in the sixteenth century.
Poems written in the first person, poems that contain passages of conversation or dialogue, and narrative poems all rely on their readers’ capacity to process discourse. Discourse features in the texts of those poems—features such as temporal and spatial reference, narrative “framing”, and the strategic use of direct speech—inevitably affect the way readers receive the central themes. Recent developments in linguistic theory, including developments that address discourse structure, thus offer literary scholars new tools for approaching a richer understanding of those poems.
In Poetic Voices, Austin demonstrates some of the potential applications of such a discourse-based stylistics by pursuing what amounts to a literary conundrum, an apparent anomaly at the heart of a well-respected text, William Wordsworth’s “Resolution and Independence.” By applying a series of insights borrowed from linguists’ theories of discourse structure, Austin accounts satisfactorily for the poem’s linguistic irregularity. At each stage, he reviews other poetic texts that also respond well to analysis from that particular stylistic perspective—works by Coleridge, Frost, Shelley, and Tennyson.
As a discipline, stylistics aims first and foremost to influence our understanding of individual literary works. In this tradition, Poetic Voices presents unconventional and challenging interpretations of poems such as Shelley’s “Ozymandias” and Tennyson’s Ulysses. In addition to these literary claims, however, Poetic Voices also seeks to extend the domain of stylistics generally by establishing the contribution that linguists’ theories of discourse structure may make to the appreciation of literature.
This book makes claims in both literary and linguistic/stylistic fields. Like the author’s previous book, Language Crafted: A Linguistic Theory of Poetic Syntax, this volume will be most enthusiastically received and most thoroughly appreciated by stylists. Nevertheless, Poetic Voices is fully accessible to non-specialists who will appreciate the discussions of Romantic and post-Romantic texts without having to become experts in discourse analysis.
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.
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theater, and performance.
Volume 30, Institutions of the Text, includes essays that examine playtexts in their relationship to a structure or structures shaping early modern culture: the printing industry, the marketplace of texts and of fashions, theatrical companies, manuscript culture and circulation, authorship, the family and paternity. Topics include Henry V and testicular masculinity, two essays on The Winter's Tale, Shakespeare's Sir John Oldcastle, and Shakespeare's commerciality.</p>
Arriving in Mexico less than a decade after the Spanish conquest of 1521, the Franciscan missionary Bernardino de Sahagún not only labored to supplant native religion with Christianity, he also gathered voluminous information on virtually every aspect of Aztec (Nahua) life in contact-period Mexico. His pioneering ethnographic work relied on interviews with Nahua elders and the assistance of a younger generation of bicultural, missionary-trained Nahuas. Sahagún's remarkably detailed descriptions of Aztec ceremonial life offer the most extensive account of a non-Western ritual system recorded before modern times.
Representing Aztec Ritual: Performance, Text, and Image in the Work of Sahagún uses Sahagún's corpus as a starting point to focus on ritual performance, a key element in the functioning of the Aztec world. With topics ranging from the ritual use of sand and paper to the sacrifice of women, contributors explore how Aztec rites were represented in the images and texts of documents compiled under colonial rule and the implications of this European filter for our understanding of these ceremonies. Incorporating diverse disciplinary perspectives, contributors include Davíd Carrasco, Philip P. Arnold, Kay Read, H. B. Nicholson, Eduardo Matos Moctezuma, Guilhem Olivier, Doris Heyden, and Eloise Quiñones Keber.
An unimpeachable classic work in political philosophy, intellectual and cultural history, and economics, The Road to Serfdom has inspired and infuriated politicians, scholars, and general readers for half a century. Originally published in 1944—when Eleanor Roosevelt supported the efforts of Stalin, and Albert Einstein subscribed lock, stock, and barrel to the socialist program—The Road to Serfdom was seen as heretical for its passionate warning against the dangers of state control over the means of production. For F. A. Hayek, the collectivist idea of empowering government with increasing economic control would lead not to a utopia but to the horrors of Nazi Germany and Fascist Italy.
First published by the University of Chicago Press on September 18, 1944, The Road to Serfdom garnered immediate, widespread attention. The first printing of 2,000 copies was exhausted instantly, and within six months more than 30,000 books were sold. In April 1945, Reader’s Digest published a condensed version of the book, and soon thereafter the Book-of-the-Month Club distributed this edition to more than 600,000 readers. A perennial best seller, the book has sold 400,000 copies in the United States alone and has been translated into more than twenty languages, along the way becoming one of the most important and influential books of the century.
With this new edition, The Road to Serfdom takes its place in the series The Collected Works of F. A. Hayek. The volume includes a foreword by series editor and leading Hayek scholar Bruce Caldwell explaining the book's origins and publishing history and assessing common misinterpretations of Hayek's thought. Caldwell has also standardized and corrected Hayek's references and added helpful new explanatory notes. Supplemented with an appendix of related materials ranging from prepublication reports on the initial manuscript to forewords to earlier editions by John Chamberlain, Milton Friedman, and Hayek himself, this new edition of The Road to Serfdom will be the definitive version of Hayek's enduring masterwork.
It has become something of a critical commonplace to claim that science fiction does not actually exist in Argentina. This book puts that claim to rest by identifying and analyzing a rich body of work that fits squarely in the genre. Joanna Page explores a range of texts stretching from 1875 to the present day and across a variety of media-literature, cinema, theatre, and comics-and studies the particular inflection many common discourses of science fiction (e.g., abuse of technology by authoritarian regimes, apocalyptic visions of environmental catastrophe) receive in the Argentine context. A central aim is to historicize these texts, showing how they register and rework the contexts of their production, particularly the hallmarks of modernity as a social and cultural force in Argentina. Another aim, held in tension with the first, is to respond to an important critique of historicism that unfolds in these texts. They frequently unpick the chronology of modernity, challenging the linear, universalizing models of development that underpin historicist accounts. They therefore demand a more nuanced set of readings that work to supplement, revise, and enrich the historicist perspective.
Though male French authors plotted prostitution to make their names—mimicking the surveillance of municipal authorities—the sex workers in their books manage to evade efforts to contain them
While prostitutes in nineteenth-century Paris were subject to municipal laws that policed their bodies and movements, writers of the era enlisted them to stake their own claims on both the city and the novel as literary territory. Sex Work, Text Work: Mapping Prostitution in the Nineteenth-Century French Novel explores how prostitutes depicted by Émile Zola, Joris-Karl Huysmans, Edmond de Goncourt, Adolphe Tabarant, and Charles-Louis Philippe “write back,” confounding civil and literary efforts to contain them in space and in narrative.
In city-regulated brothels, brasseries à femmes, Haussmannian boulevards, and the novel itself, working-class prostitutes served to reinforce the boundaries of social inclusion and exclusion. And yet, Jessica Tanner contends, even the novels that most explicitly aligned with the disciplinary logic of regulated prostitution make space for a distinctly literary form of resistance: these women elude or disrupt the mapping that would claim them as literary territory, revealing their authors’ failure to secure their narratives as property. Tanner pushes back against the critical tendency to attribute agency only to courtesans who became published authors and forwards a new framework for understanding the political work novels engage in as they circulate. Observing that debates about the regulation of prostitution surfaced in tandem with racialized anxieties about the boundaries of the French nation, Tanner ultimately expands that framework to the history of French colonialism and the politics of immigration in the current day. This book shows that while sex workers have been recruited to mark the borders of civic and moral life, prostitution can also make space for more inclusive forms of community, both in the novel and in the world beyond its bounds.
"How to inform the judicial mind," Justice Frankfurter remarked during the school desegregation cases, "is one of the most complicated problems." Social research is a potential source of such information. Indeed, in the 1960s and 1970s, with activist courts at the forefront of social reform, the field of law and social science came of age. But for all the recent activity and scholarship in this area, few books have attempted to create an intellectual framework, a systematic introduction to applied social-legal research. Social Research in the Judicial Process addresses this need for a broader picture. Designed for use by both law students and social science students, it constructs a conceptual bridge between social research (the realm of social facts) and judicial decision making (the realm of social values). Its unique casebook format weaves together judicial opinions, empirical studies, and original text. It is a process-oriented book that teaches skills and perspectives, cultivating an informed sensitivity to the use and misuse of psychology, social psychology, and sociology in apellate and trial adjudication. Among the social-legal topics explored are school desegregation, capital punishment, jury impartiality, and eyewitness identification. This casebook is remarkable for its scope, its accessibility, and the intelligence of its conceptual integration. It provides the kind of interdisciplinary teaching framework that should eventually help lawyers to make knowledgeable use of social research, and social scientists to conduct useful research within a legally sophisticated context.
Brown makes elegant use of sociological theory and of insights from language philosophy, literary criticism, and rhetoric to articulate a new theory of the human sciences, using the powerful metaphor of society as text.
In 1521, the young Polish diplomat Nicolaus Hussovianus was watching the bullfights at a papal celebration in Rome. He remarked that the spectacle reminded him of the bison hunts he had witnessed as a young man in the Polish-Lithuanian woods, and his employer then asked Hussovianus to write a poem about the bison hunts, to accompany the gift of a stuffed bison for Pope Leo X, an avid hunter. Song of the Bison is the first complete English translation of Hussovianus’s Latin poem, which is claimed as a national epic by Lithuania, Belarus, and Poland. The exciting poem discusses not only Hussovianus’s own experience in hunting and observing the European bison, but also the political, social, religious, and aesthetic developments of sixteenth-century Europe, and ends with an urgent plea for unity among European states threatened by foreign invasions.
In a society that has seen epochal change over a few generations, what remains to hold people together and offer them a sense of continuity and meaning? In Songs for Dead Parents, Erik Mueggler shows how in contemporary China death and the practices surrounding it have become central to maintaining a connection with the world of ancestors, ghosts, and spirits that socialism explicitly disavowed.
Drawing on more than twenty years of fieldwork in a mountain community in Yunnan Province, Songs for Dead Parents shows how people view the dead as both material and immaterial, as effigies replace corpses, tombstones replace effigies, and texts eventually replace tombstones in a long process of disentangling the dead from the shared world of matter and memory. It is through these processes that people envision the cosmological underpinnings of the world and assess the social relations that make up their community. Thus, state interventions aimed at reforming death practices have been deeply consequential, and Mueggler traces the transformations they have wrought and their lasting effects.
How is history produced? How do individuals write—or rewrite—their parts while engaged in the production of history? Michael Lynch and David Bogen take the example of the Iran-contra hearings to explore these questions. These hearings, held in 1987 by the Joint House-Senate Select Committee on Secret Military Assistance to Iran and the Nicaragua Opposition, provided the nation with a media spectacle and a rare chance to see a struggle over the writing of history. There was Oliver North, prime suspect and designated scapegoat, turning into a hero of the American Right before the very eyes of the nation. How this transformation occurred, with the complicity of the press and the public, becomes disturbingly clear in The Spectacle of History. Lynch and Bogen detail the practices through which the historical agents at the center of the hearings composed, confirmed, used, erased, and denied the historical record. They show how partisan skirmishes over the disclosure of records and testimony led to a divided and irresolute outcome, an outcome further facilitated by the “applied deconstruction” deployed by North and his allies. The Spectacle of History immerses the reader in a crowded field of texts, utterances, visual displays, and media commentaries, but, more than a case study, it develops unique insight into problems at the heart of society and social theory—lying and credibility, the production of civic spectacle, the relationship between testimony and history, the uses of memory, and the interplay between speech and writing. Drawing on themes from sociology, literary theory, and ethnomethodology and challenging prevailing concepts held by contemporary communication and cultural studies, Lynch and Bogen extract valuable theoretical lessons from this specific and troubling historical episode.
Starring the Text: The Place of Rhetoric in Science Studies firmly establishes the rhetorical analysis of science as a respected field of study. Alan G. Gross, one of rhetoric’s foremost authorities, summarizes the state of the field and demonstrates the role of rhetorical analysis in the sciences. He documents the limits of such analyses with examples from biology and physics, explores their range of application, and sheds light on the tangled relationships between science and society. In this deep revision of his important Rhetoric of Science, Gross examines how rhetorical analyses have a wide range of application, effectively exploring the generation, spread, certification, and closure that characterize scientific knowledge. Gross anchors his position in philosophical rather than in rhetorical arguments and maintains there is rhetorical criticism from which the sciences cannot be excluded.
Gross employs a variety of case studies and examples to assess the limits of the rhetorical analysis of science. For example, in examining avian taxonomy, he demonstrates that both taxonomical and evolutionary species are the product of rhetorical interactions. A review of Newton’s two formulations of optical research illustrates that their only significant difference is rhetorical, a difference in patterns of style, arrangement, and argument. Gross also explores the range of rhetorical analysis in his consideration of the “evolution of evolution” of Darwin’s notebooks. In his analysis of science and society, he explains the limits of citizen action in executive, judicial, and legislative democratic realms in the struggle to prevent, ameliorate, and provide adequate compensation for occupational disease. By using philosophical, historical, and psychological perspectives, Gross concludes, rhetorical analysis can also supplement other viewpoints in resolving intellectual problems.
Starring the Text, which includes fourteen illustrations, is an updated, readable study geared to rhetoricians, historians, philosophers, and sociologists interested in science. The volume effectively demonstrates that the rhetoric of science is a natural extension of rhetorical theory and criticism.
This is the 2016 paperback printing of the 2008 edition of the popular text, translation, and commentary by S. A. Farmer. (The 2008 edition was a revised edition of the 1998 original publication).
Published by ACMRS (Arizona Center for Medieval and Renaissance Studies) in Tempe, Arizona as part of the MRTS (Medieval and Renaissance Texts and Studies) Series, this book -- previously available only in hardcover and otherwise out-of-print since 2014 -- is now available in its entirety in paperback format.
From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries.
Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti
The Task of the Interpreter offers a new approach to what it means to interpret a text, and reconciles the possibility of multiple interpretations with the need to consider the author’s intention. Vandevelde argues that interpretation is both an act and an event: It is an act in that interpreters, through the statements they make, implicitly commit themselves to justifying their positions, if prompted. It is an event in that interpreters are situated in a cultural and historical framework and come to a text with questions, concerns, and methods of which they are not fully conscious. These two aspects make interpretation a negotiation of meaning. The Task of the Interpreter provides an interdisciplinary investigation of textual interpretation including biblical hermeneutics (Gregory the Great’s Homilies on Ezekiel), translation (Homer’s The Odyssey), and literary fictions (Grass’s Dog Years and Sabato’s On Heroes and Tombs). Vandevelde’s philosophical discussion will appeal to theorists of both continental and analytical/pragmatic traditions.
In a cultural moment when institutional repositories carry valuable secrets to the present and past, this collection argues for the critical, intellectual, and social value of archival instruction. Graban and Hayden and 37 other contributors examine how undergraduate and graduate courses in rhetoric, history, community literacy, and professional writing can successfully engage students in archival research in its many forms, and successfully model mutually beneficial relationships between archivists, instructors, and community organizations.
Combining new and established voices from related fields, each of the book’s three sections includes a range of form-disrupting pedagogies. Section I focuses on how approaching the archive primarily as text fosters habits of mind essential for creating and using archives, for critiquing or inventing knowledge-making practices, and for being good stewards of private and public collections. Section II argues for conducting archival projects as collaboration through experiential learning and for developing a preservationist consciousness through disciplined research. Section III details praxis for revealing, critiquing, and intervening in historic racial omissions and gaps in the archives in which we all work.
Ultimately, contributors explore archives as sites of activism while also raising important questions that persist in rhetoric and composition scholarship, such as how to decolonize research methodologies, how to conduct teaching and research that promote social justice, and how to shift archival consciousness toward more engaged notions of democracy. This collection highlights innovative classroom and curricular course models for teaching with and through the archives in rhetoric and composition and beyond.
Demonstrates that the approaches of literary linguistics extend to the many influences outside it—history, culture, or politics—that contribute to our understanding of language
The Text & Beyond: Essays in Literary Linguistics is a collection of suggestive models for those interested in using the tools of linguistics to meet the aims of literary criticism and theory. Only very recently have linguists and literary scholars come to recognize that their goals are compatible.
Text and Culture was first published in 1989. 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.
In Text & Culture, Daniel Cottom examines the political aspects of contemporary disciplines of interpretation. He pleads against limiting the act of reading by disqualifying some readings as "wrong" or unscholarly, and he argues for the necessity of multiple readings, claiming that a closed-off text glosses over differences that are political in nature. He proceeds, then, from the notion of text to culture. Just as the reading of the text is conditioned by irreducible political differences, so is the reading of culture. Finally, to illustrate and further develop his arguments, Cottom presents an extensive analysis of Great Expectations.
Cottom's materials range from academic jokes to King Lear, and the writers he discusses range from Kant to Derrida, from Freud to Basil Bernstein, from Ludwig Wittgenstein and Bronislaw Malinowski to Erving Goffman, Clifford Geertz, and Stanley Fish. This study is especially concerned with the way "culture" and related terms, such as "context" and "norm," are part of a larger discourse in the contemporary humanities and social sciences - a discourse in which their effect is to repress recognition of important historical differences, conflicts, and possibilities. At the same time that he shows how difficult it is to get "beyond culture," he tries to indicate how interpretation may be turned into a more socially responsible practice.
Daniel Cottom is associate professor of English at the University of Florida. He is the author of Social Figures: George Eliot, Social History, and Literary Representation (Minnesota, 1987) and The Civilized Imagination: A Study of Ann Radcliffe, Jane Austen, and Sir Walter Scott.
Text and Interpretation examines the main characteristics of the legal thought of Imam Jaʿfar al-Ṣādiq, preeminent religious scholar jurist of Medina in the first half of the second century of the Muslim calendar. This book presents an intellectual history of how the Jaʿfarī school began and examines the scholar’s interpretive approach.
Maeda Ai was a prominent literary critic and an influential public intellectual in late-twentieth-century Japan. Text and the City is the first book of his work to appear in English. A literary and cultural critic deeply engaged with European critical thought, Maeda was a brilliant, insightful theorist of modernity for whom the city was the embodiment of modern life. He conducted a far-reaching inquiry into changing conceptions of space, temporality, and visual practices as they gave shape to the city and its inhabitants. James A. Fujii has assembled a selection of Maeda’s essays that question and explore the contours of Japanese modernity and resonate with the concerns of literary and cultural studies today.
Maeda remapped the study of modern Japanese literature and culture in the 1970s and 1980s, helping to generate widespread interest in studying mass culture on the one hand and marginalized sectors of modern Japanese society on the other. These essays reveal the broad range of Maeda’s cultural criticism. Among the topics considered are Tokyo; utopias; prisons; visual media technologies including panoramas and film; the popular culture of the Edo, Meiji, and contemporary periods; maps; women’s magazines; and women writers. Integrally related to these discussions are Maeda’s readings of works of Japanese literature including Matsubara Iwagoro’s In Darkest Tokyo, Nagai Kafu’s The Fox, Higuchi Ichiyo’s Growing Up, Kawabata Yasunari’s The Crimson Gang of Asakusa, and Narushima Ryuhoku’s short story “Useless Man.” Illuminating the infinitely rich phenomena of modernity, these essays are full of innovative, unexpected connections between cultural productions and urban life, between the text and the city.
Text as Ride re-situates our understanding of new media in the social contexts of mobile apps, thrill rides, walking in the city, 3D cinema, video games, and DJ culture. Rather than a continuation of print-based literature by other means, this book considers electronic literature as a practice that foregrounds new media’s specificity. Janez Strehovec deals with post-hypertext eLiterature that has become conceptual: Moving beyond hyperlinked storytelling, it deals with digital materiality and boundaries of language; with code, textual ecology, and the limits of the sayable. This book will appeal to scholars of electronic literature, gaming, urban studies, cinema, and digital culture.
Children’s Bibles are often the first encounter people have with the Bible, shaping their perceptions of its stories and characters at an early age. The material under discussion in this book not only includes traditional children’s Bibles but also more recent phenomena such as manga Bibles and animated films for children. The book highlights the complex and even tense relationship between text and image in these Bibles, which is discussed from different angles in the essays. Their shared focus is on the representation of “others”—foreigners, enemies, women, even children themselves—in predominantly Hebrew Bible stories. The contributors are Tim Beal, Ruth B. Bottigheimer, Melody Briggs, Rubén R. Dupertuis, Emma England, J. Cheryl Exum, Danna Nolan Fewell, David M. Gunn, Laurel Koepf, Archie Chi Chung Lee, Jeremy Punt, Hugh S. Pyper, Cynthia M. Rogers, Mark Roncace, Susanne Scholz, Jaqueline S. du Toit, and Caroline Vander Stichele.
The concept of textuality in recent decades has come to designate a fundamentally contested terrain within a number of academic disciplines. How it came to occupy this position is the subject of John Mowitt's book, a critical genealogy of the social and intellectual conditions that contributed to the emergence of the textual object. Beginning with the Tel Quel group in France in the sixties and seventies, Mowitt's study details how a certain interdisciplinary crisis prompted academics to rethink the conditions of cultural interpretation. Concentrating on three disciplinary projects—literary analysis, film studies, and musicology—Mowitt shows how textuality's emergence called into question not merely the relations among these disciplines, but also the cultural logic of disciplinary reason as such. At once an effort to define "the text" and to explore and extend the theory of textuality, this book illustrates why the notion of interdisciplinary research has recently acquired such urgency. At the same time, by emphasizing the genealogical dimension of the textual object, Mowitt raises the issues of its "antidisciplinary" character, and by extension its immediate pertinence for the current debates over multiculturalism and Eurocentrism.
Theater at the Margins: Text and the Post-Structured Stage investigates recent German and American texts in relation to contemporary critical theory. Focusing on the work of writers Kathy Acker, Frank Chin, Caryl Churchill, Rainer Werner Fassbinder, Richard Foreman, Elaine Jackson, Cherrie Moraga, and Wallace Shawn, the book explains how these nontraditionalists challenge the presumptions of traditional dramatic writing and contribute to a unique theatrical sensibility. The introduction to Theater at the Margins situates contemporary post-structuralist, ethnic, and feminist theory in relation to theater and the dramatic text, with specific reference to Derrida's concept of "the margin." Subsequent chapters apply this thinking to specific texts, including Pandering to the Masses; Garbage, The City and Death; The Chickencoop Chinaman; and Giving Up the Ghost. A concluding chapter summarizes these readings and suggests how they might be useful for theater practitioners. The theoretical issues covered are central to both contemporary critical discourse and theatrical practice. By investigating the notion of "margins," of the places in which the dramatic text begins to unravel its ontotheological heritage, Erik MacDonald shows how the possibility for staging philosophy's "Other" emerges. He makes clear, however, that staging this Other is not simply a concern of philosophy; instead, he raises the possibility of a heterogeneous theater that would accentuate the historical and political background of a particular group while at the same time making room for competing voices. Theater at the Margins argues that this heterogeneity of texts could create a theater that would be responsive and responsible to a world no longer defined by a particular center.
What does it mean to read one nation's literature in another language? The considerable popularity of Russian literature in the English-speaking world rests almost entirely upon translations. In The Translator and the Text, Rachel May analyzes Russian literature in English translation, seeing it less as a substitute for the original works than as a subset of English literature, with its own cultural, stylistic, and narrative traditions.
How have the lyrics of poets and songwriters, traditionally voices of protest against domination and exploitation in Chinese society, responded to the forces of cultural imperialism and nationalistic ideology that have accompanied the modernization of Chinese society in the last half of this century. Gregory B. Lee suggests that the response can be seen in a proliferation of hybrid lyric forms and cultures—from both within China and beyond—and that China’s "culture of lyricism" contributes in powerful, significant, and often resistant ways to the nation’s sense of itself and its encounter with modernity. Lee’s broad definition of lyric includes the work of poets, amateur versifiers, and all manner of popular songwriters, and his inclusive sense of nation refers to all Chinese communities regardless of geographic location. Whether examining the globalized consumption of satellite-broadcast pop music or the heroic efforts of little-known poets on the margins of the Chinese diaspora, he finds a questioning and contesting of both the Orientalist construction of a mythic monolithic China invented by the West and the Chinese obsession with ideas of authenticity and purity of nationhood. Lee explores the lyrical transgression of these ideological boundaries in China, in the Chinese communities of America and Britain, and in other marginalized communities, before using the examples of Hong Kong and other non-nationalistic sites to discuss the creative possibilities of hybrid cultures and societies.
This volume presents in-depth and contextualized analyses of a wealth of visual materials. These documents provide viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power. These chapters are anchored in various theoretical and disciplinary points of departure, such as the history of collections and collecting, literary theory and criticism, the histories of science, art history and visual culture, word-and-image studies, as well as print culture and book illustration. Authors draw upon a wide range of visual material hitherto insufficiently explored and placed in context, in some cases hidden in museums and archives, or previously assessed only from a disciplinary standpoint that favored either the image or the text but not both in relation to each other. They include manuscript illuminations representing compilers and collections, frontispieces and other accompanying plates published in catalogues and museographies, astronomical diagrams, mixed pictographic-alphabetic accounting documents, Spanish baroque paintings, illustrative frontispieces or series inspired by or designed for single novels or anthologies, anatomical drawings featured in encyclopedic publications, visual patterns of volcanic formations, engravings representing the New World that accompany non-fictional travelogues, commonplace books that interlace text and images, and graphic satire. Geographically, the collection covers imperial centers (Great Britain, France, the Netherlands, and Spain), as well as their colonial periphery (New France; Mexico; Central America; South America, in particular Brazil; parts of Africa; and the island of Ceylon). Emblematic and thought-provoking, these images are only fragments of the multifaceted and comprehensive visual mosaic created during the early modern period, but their consideration has far reaching implications.
A trickster saint whose miracles reportedly included the healing of an inguinal hernia via a hammer and anvil, Sainte Foy inspired one of the most important collections of miracle stories of the central middle ages. Kathleen Ashley and Pamela Sheingorn explore the act of "writing faith" as performed both by the authors of these stories and by the scholars who have used them as sources for the study of medieval religion and society.
As Ashley and Sheingorn show, differing agendas shaped the miracle stories over time. The first author, Bernard of Angers, used his narratives to critique popular religion and to establish his own literary reputation, while the monks who continued the collection tried to enhance their monastery's prestige. Because these stories were rhetorical constructions, Ashley and Sheingorn argue, we cannot use them directly as sources of historical data. Instead, they demonstrate how analyzing representations common to groups of miracle stories—such as negative portrayals of Muslims on the eve of the Crusades—can reveal the traces of history.
In this companion volume to History and Mythology of the Aztecs, John Bierhorst provides specialists with a transcription of the Nahuatl text, keyed to the translation, and a linguistic apparatus to help elucidate it. The glossary offers definitions for all unusual usages in the codex, as well as careful treatment of many of the commonest (and most semantically flexible) verbs, adverbs, and particles. Detailed discussions of selected features appear in the Grammatical Notes, which complete the work.