This distinctive collection explores the construction of genealogies—in both the biological sense of procreation and the metaphorical sense of heritage and cultural patrimony. Focusing specifically on the discourses that inform such genealogies, Generation and Degeneration moves from Greco-Roman times to the recent past to retrace generational fantasies and discords in a variety of related contexts, from the medical to the theological, and from the literary to the historical.
The discourses on reproduction, biology, degeneration, legacy, and lineage that this book broaches not only bring to the forefront concepts of sexual identity and gender politics but also show how they were culturally constructed and reconstructed through the centuries by medicine, philosophy, the visual arts, law, religion, and literature. The contributors reflect on a wide range of topics—from what makes men “manly” to the identity of Christ’s father, from what kinds of erotic practices went on among women in sixteenth-century seraglios to how men’s hemorrhoids can be variously labeled. Essays scrutinize stories of menstruating males and early writings on the presumed inferiority of female bodily functions. Others investigate a psychomorphology of the clitoris that challenges Freud’s account of lesbianism as an infantile stage of sexual development and such topics as the geographical origins of medicine and the materialization of genealogy in the presence of Renaissance theatrical ghosts.
This collection will engage those in English, comparative, Italian, Spanish, and French studies, as well as in history, history of medicine, and ancient and early modern religious studies.

Contributors. Kevin Brownlee, Marina Scordilis Brownlee, Elizabeth Clark, Valeria Finucci, Dale Martin, Gianna Pomata, Maureen Quilligan, Nancy Siraisi, Peter Stallybrass,Valerie Traub

Talk is of central importance to politics of almost every kind—it’s no accident that when the ancient Greeks first attempted to examine politics systematically, they developed the study of rhetoric. In Tropes of Politics, John Nelson applies rhetorical analysis first to political theory, and then to politics in practice. He offers a full and deep critical examination of political science and political theory as fields of study, and then undertakes a series of creative examinations of political rhetoric, including a deconstruction of deliberation and debate by the U.S. Senate prior to the Gulf War.
    Using the neglected arts of argument refined by the rhetoric of inquiry, Nelson traces how everyday words like consent and debate construct politics in much the same way that poets such as Mamet and Shakespeare construct plays, and he shows how we are remaking our politics even as we speak. Tropes of Politics explores how politicians take stands and political scientists probe representation, how experts become informed even as citizens become authorities, how students actually reinvent government while professors merely model politics, how senators wage war yet keep comity among themselves.
    The action, Nelson shows, is in the tropes: these figures of speech and images of deed can persuade us to turn from ideologies like liberalism toward spectacles about democracy or movements into environmentalism and feminism. His argument is that inventive attention to tropes can mean better participation in politics. And the argument is in the tropes—evidence itself as sights or citations, governments as machines or men, politics as hardball or softball, deliberations as freedoms or constraints, borders as fringes or friends.

Tropes, Parables, Performatives collects J. Hillis Miller’s essays on seven major twentieth-century authors: Lawrence, Kafka, Stevens, Williams, Woolf, Hardy, and Conrad. For all their evident differences, these essays from early to late explore a single intuition about literature, which may be framed by three words: “trope,” “parable,” and “performative.”
Throughout these essays Miller is fascinated with the tropological dimension of literary language, with the way figures of speech turn aside the telling of a story or the presentation of a literary theme. The exploration of this turning leads to the recognition that all works of literature are parabolic, “thrown beside” their real meaning. They tell one story but call forth something else.
Miller further agrees that all parables are fundamentally performative. They do not merely name something or give knowledge, but rather use words to make something happen, to get the reader from here to there. Each essay here attempts to formulate what, in a given case, the reader perfomatively enters by way of parabolic trope.