Opposing this materialist view is the idea that condemns a boundless appetite for more and better goods and distrusts "improvements" that only feed desire. Tracing the opposition to the idea of progress from Rousseau through Montesquieu to Carlyle, Max Weber and G.D.H. Cole, Lasch finds much that is desirable in a turn toward moral conservatism, toward a lower-middle-class culture that features egalitarianism, workmanship and loyalty, and recognizes the danger of resentment of the material goods of others.

    In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored—a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    A leader of the Dada movement in Germany, he later joined the circle of writers and artists gathered in Paris around André Breton, the unofficial founder of the Surrealist movement. At the outset of World War II, Ernst fled Germany for the United States, first going to New York and eventually settling in Sedona, Arizona. Ernst returned to Europe in 1950 and continued to explore Surrealist imagery and methods throughout his life.This important book accompanies the first retrospective exhibition of Ernst’s work held in the United States in thirty years. It examines his pioneering accomplishments in painting, collage, and sculpture and considers his use of the techniques of frottage, grattage, and decalcomania. Also featured are Ernst’s unique collage novels--narratives comprising disparate images culled from nineteenth-century engravings and combined in surreal, unsettling compositions. Leading scholars write on various aspects of Ernst’s life and art: Werner Spies on Ernst in America; Ludger Derenthal on Ernst and politics; Pepe Karmel on Ernst and contemporary art; Thomas Gaehtgens on Ernst and the old masters; and Robert Storr on the collage novels.

    More than 150 of the surviving masterworks from the original show are collected and illustrated in this book.

    The Sighted Singer makes available a revised and significantlyexpanded version of Against Our Vanishing and includes Grossman's recent treatise " Summa Lyrica: A Primer of the Commonplaces in Speculative Poetry." This combined edition provides a sophisticated yet accessible discussion—across generations—of "the fundamental discourse of poetic structure."

    In these 10 essays he explores the ethical and political dimensions of the modernity/postmodernity debates. Bernstein argues that modernity/postmodernity should be understood as a pervasive mood - what Heidegger calls a Stimmung - one that is amorphous, shifting, and protean but that nevetheless exerts a powerful influence on our current ways of thinking and acting. Focusing on such thinkers as Heidegger, Derrida, Foucault, Rorty, and Habermas, Bernstein seeks to demonstrate the strengths and weaknesses of their work and to highlight the ways in which they have contributed to the formation of a new and distinctive constellation of ideas and themes.EssaysPhilosophy, History, and Critique - The Rage Against Reason - Incommensurability and Otherness Revisited - Heidegger's Silence? Ethos and Technology - Foucault: Critique as a Philosophic Ethos - Serious Play: The Ethical-Political Horizon of Derrida - An Allegory of Modernity/Postmodernity: Habermas and Derrida - One Step Forward, Two Steps Backward: Rorty on Liberal Democracy - Rorty's Liberal Utopia, Reconciliation/Rupture

    He was also a brilliant essayist who took the destruction of his culture as one of his main subjects. This comprehensive volume contains most of Mandelstam's essays, reviews, memoirs, reportage, sketches, polemics, forewords, fragments, and notes -- and the major long prose works of the 1930s, including "Fourth Prose," "Journey to Armenia," and "Conversation about Dante."

    Praised for his eloquence, he was also reviled by conservatives for his radical politics. This edition, thematically organized for ease of access, contains some of his best-known essays, such as The Indian Jugglers and The Fight, as well as more obscure pieces on politics, philosophy, and culture.

    Line drawings.

    The author, a noted literary critic, presents a selection of his thought on Balzac, Valery, Dickens, Goethe, Heine, Hoelderlin, lyric poetry, realism, the essay and the contemporary novel.

    Jacqueline Rose stands back from the debates and looks instead at the swirl of controversy, recognizing it as a phenomenon in itself--one with much to tell us about how a culture selects and judges writers; how we hear women's voices; and how we receive messages from, to, and about our unconscious selves.

    The years have brought to him an increasing number of odd jobs, to which he has wittily responded. Here he contemplates our national monuments, the female body, the Fourth of July, the Gospel of Matthew, other writers, moralists, aspects of science, and more.

    These beautifully produced volumes feature prose and poetry of high literary, academic, and artistic merit, written by and about Christian artists of significant stature.

    It also illuminates epic style, Homer's methods of composition, the structure of work, and his characterization. The introduction describes the features of oral poetry and looks at the history of the text of the Odyssey.The commentary based on Richard Lattimore’s translation, since it is both widely read and technically accurate, but it will be equally relevant to other translations.This series of Companions is designed for readers who approach the authors of the ancient world with little or no knowledge of Latin or Greek, or of the classical world. The commentaries accompany readily available translations, and the series should be of value to students of classical civilization studies, and history, for GCSE and A Level and at university. Each volume in the series includes the following: an introduction to the author and his work, with reference to scholarly views; a commentary providing explanation of detail, historical background, and a discussion of difficult or key passages; and periodic summaries of situation or content.

    Writing from the perspective of Lower Manhattan, the author places movies in the context of the other visual arts painting, photography, comics, video, and TV as well as that of postmodem theorists such as Leslie Fiedler and Jean Baudrillard.

    It includes his best-known essays, some outstanding but neglected articles, and previously unpublished material.

    This important though relatively little-documented 1950s avant-garde flourished on the West Coast, where the artists were free to create art that was as subversive as it was uncommercial. The story of these artists and their close associates — Beat Generation poets, experimental filmmakers, and musicians who were also breaking away from formalism and convention — is told here against the backdrop of the Korean and Vietnam wars, postwar growth, and the rise of a vigorous counterculture. With first-hand accounts by writers and artists, passages from letters, poems, and ephemeral publications, Secret Exhibition brings together a complex picture of an exciting era; and more than a hundred illustrations in black and white and color make it a visual record of an essential chapter in contemporary American art.

    Containing 74 essays written over the last ten years, this book covers a range of subjects including the literature of the perceived masters and of Rushdie's contemporaries, the politics of colonialism and the ironies of culture, film, politicians, the Labour Party, religious fundamentalism in America, racial prejudice and the preciousness of the imagination and of free expression.

    In this book, Tim Redman draws from previously unexamined and unpublished archival material, to provide the first detailed and historical account of Pound's support for Italian fascism. Beginning with Pound's earliest political journalism for the socialist paper The New Age during the First World War, the book traces Pound's growing interest in the economic theories of C.H. Douglas and Silvio Gesell, his move to Italy, his meeting with Mussolini, and his increasing activity as an apologist and propagandist for the Italian fascist regime up to the time of his arrest. This fascinating account of Ezra Pound and Italian Fascism allows the reader to understand the causes and results of Pound's ideology and actions as well as the broader implications they have for the poetry and politics of this century.

    Though Suzanne Jill Levine is the translator of some of the most inventive Latin American authors of the twentieth century—including Julio Cortázar, G. Cabrera Infante, Manuel Puig, and Severo Sarduy—each of whom were revolutionaries not only on the page, but in confronting the sexual and cultural taboos of their respective countries, she considers the act of translation itself to be a form of subversion. Rather than regret translation’s shortcomings, Levine stresses how translation is itself a creative act, unearthing a version lying dormant beneath an original text, and animating it, like some mad scientist, in order to create a text illuminated and motivated by the original. In The Subversive Scribe, one of our most versatile and creative translators gives us an intimate and entertaining overview of the tricky relationships lying behind the art of literary translation.

    Georges Didi-Huberman disrupts this story with a new look—and a new way of looking—at the fifteenth-century painter Fra Angelico. In doing so, he alters our understanding of both early Renaissance art and the processes of art history.A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems—his use of color to signal approaching visibility, of marble to recall Christ's tomb, of paint drippings to simulate (or stimulate) holy anointing. He shows how the painter employed emptiness, visual transformation, and displacement to give form to the mystery of faith.In the work of Fra Angelico, an alternate strain of Renaissance painting emerges to challenge rather than reinforce verisimilitude. Didi-Huberman traces this disruptive impulse through theological writings and iconographic evidence and identifies a widespread tradition in Renaissance art that ranges from Giotto's break with Byzantine image-making well into the sixteenth century. He reveals how the techniques that served this ultimately religious impulse may have anticipated the more abstract characteristics of modern art, such as color fields, paint spatterings, and the absence of color.

    In this volume, distinguished classicist Seth Benardete interprets and pairs two important Platonic dialogues, the Gorgias and the Phaedrus, illuminating Socrates’ notion of rhetoric and Plato’s conception of morality and eros in the human soul.            Following his discussion of the Gorgias as a dialogue about the rhetoric of morality, Benardete turns to the Phaedrus as a discourse about genuine rhetoric, namely the science of eros, or true philosophy. This novel interpretation addresses numerous issues in Plato studies: the relation between the structure of the Gorgias and the image of soul/city in the Republic, the relation between the structure of Phaedrus and the concept of eros, and Socrates’ notion of ignorance, among others.

    Features the author's novel, "Their Eyes Were Watching God," her autobiography, "Dust Tracks on a Road," and her study of African American folklore from Louisiana and Florida, "Mules and Men"

    This depiction of players, argues Kristina Straub, greatly shaped public debates over what made women feminine and men masculine. Considering a wide range of literature by or about players--pamphlets, newspaper reports, theatrical histories, biographies, as well as the public correspondence between Alexander Pope and the famous actor Colley Cibber--she examines the formation of gender roles and sexual identities during a period crucial to modern thinking on these issues. Drawing from feminist-materialist and gay and lesbian theories and historiographies, Straub analyzes the complex development of spectacle and spectatorship as gendered concepts. She also reveals how national, racial, and class differences contributed to the subjection of players as professional spectacles and how images of race, class, and gender combined to create divisions between normal and deviant sexuality.

    It focuses on the role of intellectuals as public moralists and suggests ways in which their more formal political theory rested upon habits of response and evaluation that were deeply embedded in wider social attitudes and aesthetic judgments. Collini examines the characteristic idioms and strategies of argument employed in periodical and polemical writing, and reconstructs the sense of identity and of relation to an audience exhibited by social critics from John Stuart Mill and Matthew Arnold to J.M. Keynes and F.R. Leavis.

    It uses the novels of Scudery and Lafayette to illustrate how such works undermined French tradition by suggesting that women had a right to choose their husbands and to lead independent lives.

    This collection is an addition to the existing materials that have sought not only to describe the complex movements and trends that have shaped much of literature, but also as importantly, to problematize certain taken-for-granted assumptions regarding such critical projects. This anthology is composed of 19 essays, most of which have been published in journals and books.

    The Companion to Romanticism is a major introductory survey from an international galaxy of scholars writing new pieces, specifically for a student readership, under the editorship of Duncan Wu.

    Eliot, Ezra Pound, and James Joyce on one side, and those of Virginia Woolf, William Carlos Williams, and Gertrude Stein on the other. Dr. Perl examines this early 20th-century schism in Western thought that led to vastly different conceptions of art, philosophy, and Europe's place in the world.

    Illustrating a variety of interpretative schools, the essays not onlydeal with most of the major issues of Beowulf criticism, including structure, style, genre, and theme, but also offer the sort of explanations of particular passagesthat are invaluable to a careful reading of a poem. This up-to-date collection ofsignificant critical approaches fills a long-standing need for a companion volumefor the study of the poem. Larger patterns in the history of Beowulf criticism arealso traceable in the chronological order of the collection. Thecontributors are Theodore M. Andersson, Arthur Gilchrist Brodeur, Jane Chance, Laurence N. de Looze, Margaret E. Goldsmith, Stanley B. Greenfield, Joseph Harris, Edward B. Irving, Jr., John Leyerle, Francis P. Magoun, Jr., M. B. McNamee, S. J., Bertha S. Phillpotts, John C. Pope, Richard N. Ringler, Geoffrey R. Russom, T. A.Shippey, and J. R. R. Tolkien.

    When African American writers began to trust the literary possibilities of their own verbal and musical creations, writes Gayl Jones, they began to transform the European and European American models, and to gain greater artistic sovereignty. The vitality of African American literature derives from its incorporation of traditional oral forms: folktales, riddles, idiom, jazz rhythms, spirituals, and blues. Jones traces the development of this literature as African American writers, celebrating their oral heritage, developed distinctive literary forms. The twentieth century saw a new confidence and deliberateness in African American work: the move from surface use of dialect to articulation of a genuine black voice; the move from blacks portrayed for a white audience to characterization relieved of the need to justify. Innovative writing such as Charles Waddell Chesnutt s depiction of black folk culture, Langston Hughes s poetic use of blues, and Amiri Baraka s recreation of the short story as a jazz piece redefined Western literary tradition. For Jones, literary technique is never far removed from its social and political implications. She documents how literary form is inherently and intensely national, and shows how the European monopoly on acceptable forms for literary art stifled American writers both black and white. Jones is especially eloquent in describing the dilemma of the African American writers: to write from their roots yet retain a universal voice; to merge the power and fluidity of oral tradition with the structure needed for written presentation. With this work Gayl Jones has added a new dimension to African American literary history.

    Richards, Erich Auerbach and Northrop Frye. This book aims to open another field of study: how thought - the act, the experience of thinking - is represented in literature.

    It looks at these plays in a variety of contexts - both in isolation and in relation to each other and to the cultural, ideological, social and political contexts which produced them.

    Routledge is an imprint of Taylor & Francis, an informa company.

    The work of the ancient critics provides some access to the interpretative conventions of the original reading community, whiletheir theories of fiction and genre may also shed light on the problems of the truth-value of epic fiction and the kind of belief that poetry generates. Focusing on the poets themselves, Feeney explores the themes associated with each poet, including the fiction of Apollonius, allegory in the workof Statius, and anthropomorphism in Ovid's work.

    Challenging canonical images of both brothers, Posnock is the first to place them in a rich web of cultural and intellectual affiliations comprised of a host of American and European theorists of modernity. A startlingly new Henry James emerges from a cross-disciplinary dialogue, which features Veblen, Santayana, Bourne, and Dewey, as well as Weber, Simmel, Benjamin, and Adorno.While contributing to current debates about the responsibility of the intellectual, Posnock's work will fascinate the general reader as well as literary and cultural critics and historians."This is a major work of criticism, a brilliant reconfiguration of literary culture and of literary modernism at the turn into the 20th century, and it offers some of the best interpretations I have ever read of Henry and William James, and of many attendant figures." - Richard Poirier"A brilliant study - a remarkable synthesis of cultural history, close reading, and theoretical speculation. It will make an important contribution to James studies, and an equally significant contribution to our understanding of American culture, to debates on modernity, and to discussions of the possibilities and problems of cultural criticism itself." - Jonathan Freedman

    O. Matthiessen, and  Larry Kramer.  He considers the entire range of literature, including poetry and drama, and gives attention to African or Native American themes in the work of Alain Locke, Countee Cullen, Francis Grierson, David Plante and others.

    The result is an extended meditation, in a highly personal idiom, on the creative act and its relation to modern theoretical writing and thinking. Like her fiction, Professor Brooke-Rose's criticism is self-consciously experimental, trying out and discarding ideas, adopting others. Her linguistic prowess, her uncommon role as a recognized writer of fiction and theory, and the relevance of her work to the feminist and other modern movements, all contribute to the interest of this unusual sequence of essays. Christine Brooke-Rose, formerly a professor at the Universit� de Paris, and now retired, lives in France. She is the author of several works of literary criticism and a number of novels, including Amalgamemnon and Xorander.

    XI, #1 Alexander Theroux / Paul WestReview of Contemporary Fiction Steven Moore, “Alexander Theroux: An Introduction” Steven Moore, “An Interview with Alexander Theroux” Alexander Theroux, “The Detours of Art” Alexander Theroux, “A Note on the Type” Martin C. Battestin, “Alexander Theroux in Virginia and London, 1964-1973″ A Letter from Annie Dillard Marc Chenetier, “‘A Prose of Figuring, a Prose of Hate’: Figuring with a Vengeance. A Mortlock’s View of Alexander Theroux’s Darconville’s Cat“ William O’Rourke, “The Causes of Immoral Conceptions” Michael Pinker, “The Rhetoric of Disintegration: Alexander Theroux’s An Adultery“ Thomas Filbin, “The Duelist’s Second” Christopher Sinclair-Stevenson, “Alexander Theroux: The View from England” Steven Moore, “Alexander Theroux: A Bibliography” David W. Madden, “Paul West: An Introduction” David W. Madden, “An Interview with Paul West” Paul West, “Night 1002: When It All Goes Down” Paul West, “Banquotha (a first draft)” Paul West, “Some People Not in Portable People“ Diane Ackerman, “Paul Begins a New Novel” Robert Lima, “Words of Power: Openings to the Universe of Paul West” Ivor S. Irwin, “Paul West’s Alley Jaggers: Escaping the Trap of British Proletarian Fiction” Lore Segal, “Words for a Deaf Daughter“ Christopher S. Schreiner, “Of Involutes, a Rat, and Hugh’s Guitar” William B. Millard, “‘The Lightning-rod Man,’ Metavision, and an Aesthetic of Singularity” Philip Young, “‘Stauff’” Joseph Pestino, “Macrocosm and Microcosm Relations Rethought: Paul West’s Out of My Depths“ Patricia Tobin, “Paul West: Sedentary Nomad, Suitcase Star” William Mooney, “Those Pearls His Eyes: Paul West’s Blind Monologuists and Deaf Auditors” David Bosworth, “Being and Becoming: The Canvas of Paul West’s Work” Alphonso Lingis, “From under Dismembered Bodies” Charles Mann, “The Man Who Breaks Typewriters” Books by Paul West Books ReceivedINTERVIEWS

    Now appearing in its third edition, Martin Stephen's classic text and course companion to English literature has been thoroughly revised and updated, taking account of the changes which have occurred in the subject since publication of the second edition.

    However, as reviews of the first volume in this translation agreed, whatever The Family Idiot may be called—"a dialectic" (Fredric Jameson, New York Times Book Review); "biography, philosophy, or politics? Surely . . . all of these together" (Renee Winegarten, Commentary); "a new form of fiction?" (Victor Brombert, Times Literary Supplement); or simply, "mad, of course" (Julian Barnes, London Review of Books)—its prominent place in intellectual history is indisputable.Volume 4 consists of part three, books one and two, of the original French work. This volume, the fourth in a projected five-volume English-language edition, includes Sartre's discussion of the onset of Flaubert's illness, or neurosis, in 1844, and a significant reading of his L'Education sentimentale.Sartre's approach to his complex subject, whether jaunty or judicious, psychoanalytic or political, is captured in all of its rich variety in Carol Cosman's translation.

    

    

    

    

    While some consider them subordinate, additional, irrelevant, and even damaging to the clarity of argument, Lennard's history explores how writers such as Marlowe, Swift, Coleridge, Browning, Derek Walcott, and e.e. cummings used them in their work as vehicles for pointing dramatic gesture, controlling tone, adding humor, and intensifying satire, in addition to contributing to the clarity of argument. Lennard offers both a new history of the poetic use of parentheses from their first appearance in England in 1494 to the present day, and detailed case-studies of five major poets who exploited them. He reveals how in each period the patterns of literary use have reflected, and continue to reflect, technological, philosophical, and political developments.

    Sarah Broadie concentrates on what he has to teach about happiness, virtue, voluntary agency, practical reason, incontinence, pleasure, and the place of theoria in the best life. Never forgetting that ethics for Aristotle is above all a practical enterprise, she sheds new light on ways in which this practical orientation affects both content and method of his inquiry. The book culminates in a sustained argument showing how even Aristotle's ideal of theoretic contemplation in integral to his essentially practical vision of human nature. Ethics with Aristotle is a major contribution toward the further understanding of Aristotle's ethics.

    The chronological organization brings into critical focus the shift from moral questions raised by the novels’ content, through examinations of Burroughs’ relationship to humanism and modernism, and finally to more focused literary and linguistic issues. In their introduction, the editors survey the progress of Burroughs’ critical reception and examine the reasons for the varied and intense responses to the work and the theoretical assumptions behind those responses. The reviewers include prominent figures such as Mary McCarthy and Marshall McLuhan as well as major academic critics such as Cary Nelson, Tony Tanner, and Ihab Hassan.

    But Mill was only the most notable British Victorian to suffer from shattered nerves, for depression appears again and again in nineteenth-century history and literature, among men and women of all classes. It was a problem that doctors struggled to understand and treat--largely unsuccessfully. Their debates over the nature of depression, Janet Oppenheim writes, offer us a unique window on the Victorian mind. In Shattered Nerves, Oppenheim looks at how British doctors and patients tried to make sense of depression in an era of limited psychological knowledge and intense social prejudices. Ranging from the dawn of the Victorian era to the First World War, she draws on letters, memoirs, medical reports, literature, and many other sources to paint a detailed portrait of the slowly evolving knowledge of mental illness. She reveals how a host of nerve specialists searched for the physical causes of mental depression--even the term nervous breakdown came from the belief that mental health depended on maintaining supplies of nerve force, much like recharging a battery. Especially interesting are her rich descriptions of the impact of Victorian prejudices on the ways in which doctors and patients viewed depression. Overwork and worries about money and other manly responsibilities were seen as acceptable causes of nervous collapse among men--in contrast to the range of sexual causes, including masturbation, which Victorian doctors frequently found at the root of male mental illness. Women, it was assumed, were naturally prone to hysteria and depression--and if they made the mistake of competing with men or pursuing higher education, then mental derangement was sure to follow. On the other hand, Oppenheim also reveals a number of surprises about Victorian medical thinking: For instance, even though Freud's revolution went largely ignored in Britain before the First World War, many physicians considered sexual abstinence to be unhealthy. She also points out that anorexia nervosa was identified as early as 1873 and was extensively discussed before the turn of the century. The nineteenth century was a critical period in the evolution of modern thought about the mind and the body, an era when medical knowledge grew rapidly but human psychology remained enigmatic. In exploring how Victorians addressed this problem, Shattered Nerves provides valuable insight into the way they saw their world.