Results by title

This book, part of the acclaimed AATSEEL Critical Companions series, is designed to guide readers through Dostoevsky's most mysterious and confusing work. It begins with introductory essays looking at where, when, and how The Idiot was written and at the novel's major characters. Other essays guide the reader through the author's plans and notebooks; use contemporary feminist criticism to shed light on how this novel explores alternatives to traditional roles; examine the ways in which the novel reflects Dostoevsky's concern with apocalypse, modernity, and time; and address the ways the novel's hero, Prince Myshkin, can be compared to Christ. A final section offers a rich collection of primary sources, including Dostoevsky's letters concerning The Idiot, and an annotated bibliography.

Praised as the first Russian novel of psychological realism and as a critique of the repressive era in which Mikhail Lermontov lived, A Hero of Our Time brought to life the political and social ideas that at that time could only be expressed indirectly. This latest volume in the acclaimed Northwestern/AATSEEL Critical Companions to Russian Literature series presents diverse perspectives of leading Slavic literary theorists and specialists, ethnologists, formalist critics, and Western humanists. Lending additional breadth and depth are conservative and radical reviews of the novel written at the time of its publication, plus two new essays, one on ethnic identity and the other on women's issues in the novel.

Praised as the first Russian novel of psychological realism and as a critique of the repressive era in which Mikhail Lermontov lived, A Hero of Our Time brought to life the political and social ideas that at that time could only be expressed indirectly. This latest volume in the acclaimed Northwestern/AATSEEL Critical Companions to Russian Literature series presents diverse perspectives of leading Slavic literary theorists and specialists, ethnologists, formalist critics, and Western humanists. Lending additional breadth and depth are conservative and radical reviews of the novel written at the time of its publication, plus two new essays, one on ethnic identity and the other on women's issues in the novel.

Moving beyond views of European Romanticism as an essentially poetic development, Lessons of Romanticism strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. This anthology—in recasting Romanticism in its broader cultural context—ranges across literary studies, art history, musicology, and political science and combines a variety of critical approaches, including gender studies, Lacanian analysis, and postcolonial studies.
With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven’s music and letters, Lessons of Romanticism reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women’s writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.

Contributors. Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson

Macroeconomics is fundamental to our understanding of how the world functions today. But too often our understanding is based on orthodox, canonized analysis. In this rule-breaking book, Ben Fine and Ourania Dimakou provides an engaging, heterodox primer for those interested in an alternative to mainstream macroeconomic theory and history. From classical theory to the Keynesian revolution and more modern forms including the Monetarist counterrevolution, New Classical Fundamentalism, and New Consensus Macroeconomics, Fine and Dimakou rigorously and comprehensively lay out the theories of mainstream economists, warts and all.

An edited collection, part of the acclaimed AATSEEL Critical Companions series, that guides readers through Mikhail Bulgakov's satirical masterpiece. The introduction places The Master and Margarita and Bulgakov within Russian history and literature, and essays by prominent scholars offer opinion and analysis of the novel's structure, its place in current criticism, its connection to Goethe, and its symbolism and motifs. There is also an abundance of primary source material, including an excerpt from an earlier version of the novel, and related correspondence and diary entries.

The culmination of forty years of teaching, researching, and advising on political economy, Ben Fine’s Microeconomics offers a clear and concise exposition of mainstream microeconomics from a heterodox perspective. Covering topics from consumer and producer theory to general equilibrium to perfect competition, it sets the emergence and evolution of microeconomics in both its historical and interdisciplinary context. Fine critically exposes the methodological and conceptual content of dominant microeconomic models without sacrificing the technical detail required for those completing a first degree in economics or entering postgraduate study. The result is a book which is sure to establish a strong presence on undergraduate reading lists and in comparative literature on the subject.

This is a comprehensive, critical introduction to the sociology of money, covering many topics, from the origins of money to its function today. Though our coins, bank notes and electronic tokens do function as means of exchange, money is in fact a social, intangible institution. This book shows that money does indeed rule the world. Exploring the unlikely origins of money in early societies and amidst the first civilizations, the book moves onto inherent liaison with finance, including the logic of financial markets. Turning to the contemporary politics of money, monetary experiments and reform initiatives such as Bitcoin and positive money, it finally reveals the essentially monetary constitution of modern society itself. Through criticizing the simplistic exchange paradigm of standard economics and rational choice theory, it demonstrates instead that money matters because it embodies social relations.

This book, part of the acclaimed AATSEEL Critical Companions series, is designed to guide readers through Envy, Yury Olesha's humorous look at the individual's struggle with an increasingly industrialized society. This companion acquaints the reader with the history, biographical context, critical reception, and interpretation problems related to the novel. It also helps the reader decipher the book's difficult features, including its shifting narrators and fluid boundaries between dream and reality.

In addition, this critical companion presents documents from the period pertaining to the novel, excerpts from Olesha's memoirs, and a listing of important criticism.

On the True Sense of Art collects essays by philosophers responding to John Sallis’s Transfigurements: On the True Sense of Art as well as his other works on the philosophy of art, including Force of Imagination and Logic of Imagination.

Each of the chapters, by some of the leading thinkers in Continental philosophy, engages Sallis’s work on both ancient and new senses of aesthetics—a transfiguration of aesthetics—as a beginning that is always beginning again. With a responsive essay by Sallis himself, On the True Sense of Art forms a critical introduction to the thought of this generation’s most important aesthetician.

This latest volume in the acclaimed AATSEEL series assembles fact and informed opinion on the most celebrated work of Tolstoy's later period. Published for the first time are a new stylistic analysis of the novel by C.J.G. Turner and a psychological commentary by Daniel Rancour-Laferriere. Reprinted work includes landmark papers on the symbolism of the novel by Rimgaila Salys and on its central thematic concerns by George J. Gutsche. Completing the volume is Philip Rogers's discussion of the novel from the point of view of the comparatist. Editor Gary R. Jahn adds both factual and interpretative annotations to the novel.