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In this sophisticated application of modern Marxist thought, N. N. Feltes demonstrates the determining influence of nineteenth-century publishing practices on the Victorian novel. His dialectical analysis leads to a comprehensive explanation of the development of capitalist novel production into the twentieth century.

Feltes focuses on five English novels: Dickens's Pickwick Papers, Thackeray's Henry Esmond, Eliot's Middlemarch, Hardy's Tess of the d'Urbervilles, and Forster's Howards End. Published at approximately twenty year intervals between 1836 and 1920, they each represent a different first-publication format: part-issue, three-volume, bimonthly, magazine-serial, and single-volume. Drawing on publishing, economic, and literary history, Feltes offers a broad, synthetic explanation of the relationship between the production and format of each novel, and the way in which these determine, in the last instance, the ideology of the text.

Modes of Production in Victorian Novels provides a Marxist structuralist analysis of historical events and practices described elsewhere only empirically, and traces their relationship to literary texts which have been analyzed only idealistically, thus setting these familiar works firmly and perhaps permanently into a framework of historic materialism.

Modes of Spectating investigates the questions posed by new artistic and technological mediums on the viewer experience. These new visual tools influence not only how spectators view, but also how what they view determines what artists create. Alison Oddey and Christine White analyze how gaming and televisual media and entertainment are used by young people, and the resulting psychological challenges of understanding how viewers navigate these virtual worlds and surroundings. This multidisciplinary approach brings together ideas and examples from gaming art, photography, sculpture, and performance; it will be a valuable text for scholars of both media and art.

Modes of Uncertainty offers groundbreaking ways of thinking about danger, risk, and uncertainty from an analytical and anthropological perspective. Our world, the contributors show, is increasingly populated by forms, practices, and events whose uncertainty cannot be reduced to risk—and thus it is vital to distinguish between the two. Drawing the lines between them, they argue that the study of uncertainty should not focus solely on the appearance of new risks and dangers—which no doubt abound—but also on how uncertainty itself should be defined, and what the implications might be for policy and government.
             
Organizing contributions from various anthropological subfields—including economics, business, security, humanitarianism, health, and environment—Limor Samimian-Darash and Paul Rabinow offer new tools with which to consider uncertainty, its management, and the differing modes of subjectivity appropriate to it. Taking up policies and experiences as objects of research and analysis, the essays here seek a rigorous inquiry into a sound conceptualization of uncertainty in order to better confront contemporary problems. Ultimately, they open the way for a participatory anthropology that asks crucial questions about our contemporary state. 

Taking a fresh look at the poetry and visual art of the Hellenistic age, from the death of Alexander the Great in 323 B.C. to the Romans’ defeat of Cleopatra in 30 B.C., Graham Zanker makes enlightening discoveries about the assumptions and conventions of Hellenistic poets and artists and their audiences.
    Zanker’s exciting new interpretations closely compare poetry and art for the light each sheds on the other. He finds, for example, an exuberant expansion of subject matter in the Hellenistic periods in both literature and art, as styles and iconographic traditions reserved for grander concepts in earlier eras were applied to themes, motifs, and subjects that were emphatically less grand.