An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    A Nebula and Hugo Award-winning writer of science fiction presents a collection of essays that explores the various issues, concepts, challenges, and paradoxes that confront the science fiction writer.

    Style assigns films to a tradition, distinguishes a classic, and signals the arrival of a pathbreaking innovation. David Bordwell now shows how film scholars have attempted to explain stylistic continuity and change across the history of cinema.Bordwell scrutinizes the theories of style launched by AndrE Bazin, NoEl Burch, and other film historians. In the process he celebrates a century of cinema, integrating discussions of film classics such as The Birth of a Nation and Citizen Kane with analyses of more current box-office successes such as Jaws and The Hunt for Red October. Examining the contributions of both noted and neglected directors, he considers the earliest filmmaking, the accomplishments of the silent era, the development of Hollywood, and the strides taken by European and Asian cinema in recent years.On the History of Film Style proposes that stylistic developments often arise from filmmakers' search for engaging and efficient solutions to production problems. Bordwell traces this activity across history through a detailed discussion of cinematic staging. Illustrated with more than 400 frame enlargements, this wide-ranging study provides a new lens for viewing cinema.

    First of this two-volume work providing an imaginative interpretation of the image of women in the collective unconscious of the fascist "warrior" through a study of the fantasies of the men centrally involved in the rise of Nazism.

    But because of the work's rich complexity it is difficult to think sensibly about its text and music. Deryck Cooke, author of The Language of Music and completer of Mahler's Tenth Symphony, displays his masterly common sense in this study of how and why The Ring took the shape it did. It is only a portion of the enormous book he had planned: his untimely death prevented his writing an analysis of the music. But it covers the first two operas of the cycle ( Rheingold and The Valkyrie ) and even as it stands gives a fresh understanding and appreciation to every lover of Wagner's music.

    Twenty-four essays by the modern master of literary criticism, ranging from discussion of Gertrude Stein and Jorge Luis Borges to Henry James and "The Evil Demiurge."

    not merely interesting and novel, but also exceedingly provocative and heuristically fertile." --The Review of Metaphysics... essential reading for anyone interesting in... the new reader-centered forms of criticism." --Library JournalIn this erudite and imaginative book, Umberto Eco sets forth a dialectic between 'open' and 'closed' texts.

    Since then, five volumes of Edmund Wilson's diaries have been published, as well as a volume of Nabokov's correspondence with other people and Brian Boyd's definitive two-volume biography of Nabokov. The additional letters and a considerable body of new annotations clarify the correspondence, tracing in greater detail the two decades of close friendship between the writers.

    The first edition of The Best of the Achaeans bridged that gap, raising new questions about what could be known or conjectured about Greek heroes. In this revised edition, which features a new preface by the author, Gregory Nagy reconsiders his conclusions in the light of the subsequent debate and resumes his discussion of the special status of heroes in ancient Greek life and poetry. His book remains an engaging introduction both to the concept of the hero in Hellenic civilization and to the poetic forms through which the hero is defined: the Iliad and Odyssey in particular and archaic Greek poetry in general.

    Ansel Adams, Man Ray, Brassai, Henri Cartier-Bresson, Andrés Kertész, Jacques-Henri Lartigue, George Rodger, Robert Doisneau, Brett Weston, W.Eugene Smith, Imogen Cunningham, Wynn Bullock, among many others—recall their frustrations and successes and the effects of world events on their work.

    He brings to the study of literature a fine and fresh critical intelligence that is always richly suggestive, never modish. He offers here an inquiry--elegant in conception and style--into the art of interpretation. His subject quite simply is meanings; how they are revealed and how they are concealed.Drawing on the venerable tradition of biblical interpretation, Mr. Kermode examines some enigmatic passages and episodes in the gospels. From his reading come ideas about what makes interpretation possible--and often impossible. He considers ways in which narratives acquire opacity, and he asks whether there are methods of distinguishing all possible meaning from a central meaning which gives the story its structure. He raises questions concerning the interpretation of single texts in relation to their context in a writer's work and a tradition; considers the special interpretative problems of historical narration; and tries to relate the activities of the interpreter to interpretation more broadly conceived as a means of living in the world.While discussing the gospels, Mr. Kermode touches upon such literary works as Kafka's parables, Joyce's Ulysses, Henry James's novels, and Pynchon's Crying of Lot 49. By showing the relationships between religious interpretation and literary criticism, he has enhanced both fields.

    Vermeule examines the facts and fictions of Greek death, including burial and mourning, visions of the underworld, souls and ghosts, the value of heroic death in battle, the quest for immortality, the linked powers of death, sleep, and love, and more.

    Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields.

    However diverse their views and interests, they shared a primary intent: to counter anarchistic individualism of the Surrealists by seeking to understand how close knit communities formed. To this end, they propose the notion of a "sacred sociology" which would explore these phenomenons that draw individuals together in voluntary communion: brotherhood, secret societies, churches and armies. Now translated into English for the first time, The College of Sociology brings together all the relevant texts produced by members – lectures, articles, letters and notes – that set each text within its cultural and political context.

    Wellington Wimpy finds a hamburger (it can take all day), and how "jeep", "glop" and "goon" found their way into the language. Plus: who Popeye was ordered to be a gentleman, why children love Popeye, why "if you ask a stupid question, you'll get one back."

    Structuralist, post-structuralist, deconstructed Marxes bloomed in journals and seminar rooms across the US and Europe. These Marxes and their interpreters struggled to interpret the world, and sometimes to interpret Marx himself, losing sight at times of his dictum that the challenge is not to interpret the world but to change it. In 1979, Harry Cleaver tossed an incendiary device called Reading Capital Politically into those seminar rooms. Through a close reading of the first chapter, he shows that Das Kapital was written for the workers, not for academics, and that we need to expand our idea of workers to include housewives, students, the unemployed, and other non-waged workers. Reading Capital Politically provides a theoretical and historical bridge between struggles in Europe in the 60s and 70s and, particularly, the Autonomia of Italy to the Zapatistas of the 90s. His introduction provides a brilliant and succinct overview of working class struggles in the century since Capital was published. Cleaver adds a new preface to the AK Press/Anti-Thesis edition.

    In seeking to link these categories in a system embracing the entire field of literature, Western poetics has divided literature into three kinds: dramatic, epic, and lyric. This division, generally accepted since the eighteenth century, has been wrongly attributed to Aristotle with great detriment to the development of poetics. Here Genette disassembles this burdensome triad by retracing its gradual construction and distinguishes among the architextual categories that this division has long obscured. In so doing, Genette lays a firm foundation for future theorists of literary forms.

    His writing not only reflects the independent, original mind that presided over his own visual works, but also covers an extraordinary period in American art, in which he played the double role of protagonist and witness. This new edition of "Art in Its Own Terms" restores to print a key statement in the ongoing discussion between Modern art and its past, as Porter reviews such figures as de Kooning, Johns, Cornell, Rodin, Cezanne, Leonardo and many others. Equally seminal are his considerations of the relations between art and science and art and politics. Rackstraw Downes' introduction beautifully sets the stage for this indispensable and wide-ranging volume.

    

    . . . One of the great critical works produced since the 1950s.”—New York Times

    Philosophers, psychologists, linguists, and educators raise serious questions about the viability of the traditional distinction between the literal and the metaphorical, discussing problems ranging from the definition of metaphor to its role in language acquistion, learning, scientific thinking, and the creation of social policy. In the second edition, the contributors have updated their original essays to reflect changes in their fields. The volume also includes six new chapters that present important and influential new ideas about metaphor that have appeared in such fields as the philosophy of language and the philosophy of science, linguistics, cognitive and clinical psychology, education, and artificial intelligence. The book will serve as an excellent graduate-level textbook in cognitive psychology, linguistics, and artificial intelligence.

    The Sound Shape of Language, his collaboration with Linda R. Waugh, a scholar who has devoted considerable attention to an exposition and elaboration of Jakobsonian views, fortunately has preserved in print the authoritative lectorial voice. Michael Silverstein in Journal of Communication

    In this fully revised and expanded edition, Stephen Prickett explores the way in which Victorian writers used non-realistic techniques--nonsense, dreams, visions, and the creation of other worlds--to extend our understanding of this world. In particular, Prickett focuses on six writers (Lear, Carroll, Kingsley, MacDonald, Kipling, and Nesbit), tracing the development of their art form, their influences on each other, and how these writers used fantasy to question the ideology of Victorian culture and society.

    First published in 1952, this study discusses the development of Greek prose during the fifth century and analyzes its use of abstract forms of expression, word-order, sentence structure, use of repetition, asyndeton and assonance.

    These provacative and illuminating essays by a major figure in American letters range widely in tone and theme, but they are all distinguished by Wilder's penetrating and experienced intelligence and his marvelous intellectual audacity.

    Applies ideas drawn from the history of secular life, judicial and political history, social customs, religious psychology, linguistics, and folklore to works of art spanning the period from the end of antiquity to the late Middle Ages.

    This book is a wonderful journey through literary history, from the Greek dramatists to present day. Foreword by William Jovanovich.

    Book by Ryken, Leland

    A critical analysis of Gogol's fiction and drama discusses the development of his literary style and examines his works' major themes in the context of Russian culture.

    

    Co-editor of the Journal of Contemporary History and author of nearly two dozen books, Mosse has helped to shape our contemporary understanding of fascism and consequently of 20th-century history. He has trained dozens of practicing historians, leaving the field indelibly altered. The essays collected here have all appeared previously in academic journals and scholarly volumes. Following the usual convention in which "fascism" refers to the generic phenomenon (while "Fascism" alludes to the Italian manifestation), Mosse examines such various facets as: fascist aesthetics and the avant-garde; fascism and the French Revolution; the nexus between fascism, nationalism and racism; fascism and the role of intellectuals; fascism (specifically, National Socialism) and the occult; and fascism and homosexuality. The author opens his introduction by acknowledging the changing interpretations of fascism over the last five decades. His own method might be described as cultural analysis, or to borrow a term from Clifford Geertz and cultural anthropology, "thick description." To be sure, class analysis, long favored by many Marxist and leftist historians, fails to fully capture fascism's essence. And yet even a cultural approach poses certain inherent difficulties. For, as Mosse and others have pointed out, a paradox lies at the heart of "fascist studies": intellectuals have chosen rational analysis to study and explain a movement that is irrational by its very nature, i.e., inherently hostile to the humanistic tradition. Hardly an introductory work for the novice, but instead a fundamental summation of a lifetime.