These lively and provocative lectures function as a gloss to Spicer's own poetry, a general discourse on poetics, and a cautionary handbook for young poets. This thorough documentation of Spicer's unorthodox poetic vision is an authoritative edition of an underground classic.

    Beginning with his very early writing (including a chapter from his and Jack Kerouac's never-before-seen collaborative novel), Word Virus follows the arc of Burroughs's remarkable career, from his darkly hilarious "routines" to the experimental cut-up novels to Cities of the Red Night and The Cat Inside. Beautifully edited and complemented by James Grauerholz's illuminating biographical essays, Word Virus charts Burroughs's major themes and places the work in the context of the life. It is an excellent tool for the scholar and a delight for the general reader. Throughout a career that spanned half of the twentieth century, William S. Burroughs managed continually to be a visionary among writers. When he died in 1997, the world of letters lost its most elegant outsider.

    He died in 1965 virtually unrecognized, yet in the following years his work and thought have attracted and intrigued an international audience. Now this comprehensive biography gives a pivotal poet his due. Based on interviews with scores of Spicer's contemporaries, Poet Be Like God details the most intimate aspects of Spicer's life-his family, his friends, his lovers-illuminating not only the man but also many of his poems. Such illumination extends also to the works of others whom Spicer came to know, including the writers Frank O'Hara, Robert Duncan, Denise Levertov, Helen Adam, Robin Blaser, Charles Olson, Philip K. Dick, Richard Brautigan, and Marianne Moore and the painters Jess, Fran Herndon, and Jay DeFeo. The resulting narrative, an engaging chronicle of the San Francisco Renaissance and the emergence of the North Beach gay scene during the 50s and 60s, will be indispensable reading for students of American literature and gay studies.

    A landmark achievement as expansive, erudite, and passionate as its renowned author, Shakespeare: The Invention of the Human is the culmination of a lifetime of reading, writing about, and teaching Shakespeare. Preeminent literary critic-and ultimate authority on the western literary tradition-Harold Bloom leads us through a comprehensive reading of every one of the dramatist's plays, brilliantly illuminating each work with unrivaled warmth, wit and insight. At the same time, Bloom presents one of the boldest theses of Shakespearean scholarships: that Shakespeare not only invented the English language, but also created human nature as we know it today.

    After he was diagnosed with AIDS in the late 1980's, Wojnarowicz's art took on a sharply political edge, and from then until his death in 1992, he became entangled in highly public debates about medical research and funding, censorship in the arts, and politically sanctioned homophobia. Fever: The Art of David Wojnarowicz is the first book to explore the extraordinary breadth of his work in film, installation, sculpture, photography, performance, and writing, as well as his considerable influence on artists and writers working today. It features essays by leading art scholars, including New Museum senior curator Dan Cameron, along with excerpts from Wojnarowicz's own writings and previously unpublished material from the archives of the Wojnarowicz estate-works that cross literary lines, from memoir and fiction to political commentary and cultural critique.Dan Cameron, John Carlin, C. Carr, and Mysoon Rizk

    He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone.Includes:- The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche- Essential opera lore and "lobby talk"- A scene-by-scene analysis of each opera- What to listen for to get the most from the music- Recommended recordings, films, and sound tracks

    Although she photographed many of the major male figures of the 19th century, the bulk of her work consists of portraits of women. This stunning book is the first to concentrate on this central aspect of Cameron's work, providing new information and insights about one of photography's most visionary practitioners.

    He was an early advocate of criticism as an independent branch of literature and stressed its vital role in the creative process. Scholars continue to debate many of Wilde's critical positions.Included in Richard Ellmann's impressive collection of Wilde's criticism, The Artist as Critic, is a wide selection of Wilde's book reviews as well as such famous longer works as "The Portrait of Mr. W.H.," "The Soul Man under Socialism," and the four essays which make up Intentions. The Artist as Critic will satisfy any Wilde fan's yearning for an essential reading of his critical work."Wilde . . . emerges now as not only brilliant but also revolutionary, one of the great thinkers of dangerous thoughts."—Walter Allen, New York Times Book Review"The best of Wilde's nonfictional prose can be found in The Artist as Critic."—Michael Dirda, Washington Post Book World

    Hot Seat is Rich's definitive chronicle of his long run--an encyclopedic anthology of more than three hundred of his best reviews and essays, interspersed with further thoughts, entirely new to this volume, about his adventures on the aisle at the tumultuous time when Broadway was decimated by AIDS and colonized by the British musical.         Rich's opening-night accounts of an era's biggest hits (from The  Phantom of the Opera to Six Degrees of Separation) and most notorious bombs (from Moose Murders to Carrie) are here, as are his year-by-year reflections on major careers both established (Stephen Sondheim, Peter Brook, Jessica Tandy) and new (August Wilson, Kevin Kline, Caryl Churchill).         Here as well are Rich's final words on his sparring matches with Andrew Lloyd Webber and David Hare, among others, and his retrospective lists of which plays and performances he admired most and least--as well as lists of the productions he feels he over--and underrated the first time around.        From the tragic opening night of David Merrick's 42nd Street to the unprecedented triumph of Tony Kushner's Angels in America, Hot Seat captures what was in every way a dramatic chapter in cultural history, as told and lived by a journalist with the best seat and sharpest eye in the house.

    Wood explores the relationships between narrative form and style and sexual politics, probing the political and sexual ramifications of fascism and cinema, marriage and the couple, romantic love, and representations of women, race and gender in films from the United States, Europe, and Japan.

    As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.

    Schmidt reveals how each poet has transformed "a common language of poetry" into the rustic rhythms and elegiac ballads, love sonnets, and experimental postmodern verse that make up our lyrical canon.A comprehensive guided tour that is lively and always accessible, Lives of the Poets illuminates our most transcendent literary tradition.

    Legislative Theatre is the latest and most remarkable stage in his work. 'Legislative Theatre' is an attempt to use Boal's method of 'Forum Theatre' within a political system to create a truer form of democracy. It is an extraordinary experiment in the potential of theatre to affect social change. At the heart of his method of Forum Theatre is the dual meaning of the verb 'to act': to perform and to take action. Forum Theatre invites members of the audience to take the stage and decide the outcome, becoming an integral part of the performance. As a politician in his native Rio de Janeiro, Boal used Forum Theatre to motivate the local populace in generating relevant legislation. In Legislative Theatre Boal creates new, theatrical, and truly revolutionary ways of involving everyone in the democratic process. This book includes: * a full explanation of the genesis and principles of Legislative Theatre * a description of the process in operation in Rio * Boal's essays, speeches and lectures on popular theatre, Paolo Freire, cultural activism, the point of playwrighting, and much else besides.

    Imagination, creativity, ambition, and conflict are as vital and abundant in science as in artistic endeavors. In this collection of essays, the Nobel Prize-winning protein chemist Max Perutz writes about the pursuit of scientific knowledge, which he sees as an enterprise providing not just new facts but cause for reflection and revelation, as in a poem or painting. Max Perutz's essays explore a remarkable range of scientific topics with the lucidity and precision Perutz brought to his own pioneering work in protein crystallography. He has been hailed as an author who "makes difficult subjects intelligible and writes with the warmth, humanity, and broad culture which has always characterized the great men of science." Of his previous collection of essays, a reviewer said "They turn the world of science and medicine into a marvelous land of adventure which I was thrilled to explore in the company of this wise and human [writer]." Readers of this volume can journey to the same land, with the same delight. Max Perutz (1914-2002) was a brilliant scientist, a visionary of molecular biology, and a writer of elegant essays infused with humanity and wisdom. This expanded paperback edition of his very successful book I Wish I'd Made You Angry Earlier contains nine additional essays, and a warmly evocative portrait of Max by his friend and professional colleague Sir John Meurig Thomas. The original hardcover edition of this book was co-published with Oxford University Press. A paperback edition is also available from Oxford University Press. The expanded paperback edition is only available from Cold Spring Harbor Laboratory Press.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    - Comprehensive reading and study guides for the world's most important literary masterpieces- A selection of critical excerpts provide a scholarly overview of each work- "The Story Behind the Story" places the work in a historical perspective and discusses it legacy- Each book includes a biographical sketch of the author, a descriptive list of characters, an extensive summary and analysis, and an annotated bibliography

    Songs, stories, images, and films about frightening monsters have always been invented to allay the very terrors that our sleep of reason conjures up. Warner shows how these images and stories, while they may unfold along different lines - scaring, lulling, or making mock - have the strategic simultaneous purpose of both arousing and controlling the underlying fear. In analysis of material long overlooked by cultural critics, historians, and even psychologists, Warner revises our understanding of storytelling in our contemporary culture. She asks us to reconsider the unintended consequences of our age-old, outmoded notions about masculine identity and about racial stereotyping, and warns us of the dangerous, unthinking ways we perpetuate the bogeyman.

    Opening with a chapter on how Emily BrontA's masterpiece was received in the nineteenth century, the "Guide" links together a selection of extracts that demonstrate the major critical developments of the twentieth century -- from humanism through formalism to deconstruction. Within this general framework, subsequent chapters focus on psychoanalytic readings, source studies, readings using discourse theory, work on dissemination, and political readings from Marxist, postcolonialist, and feminist points of view.

    "Just as Edwin Denby, Clement Greenburg, and Pauline Kael transformed the nature of criticism in the fields of dance, art, and film, respectively, Hardwick has redefined the possibilities of the literary essay."--The New YorkerA brilliant tour of a century American writers, from the novels of Melville, Wharton and James to the fictions of Margaret Fuller, Sylvia Plath and Norman Mailer.  Twenty-five years ago, Elizabeth Hardwick's now classic essay "Seduction and Betrayal" helped  pioneer the study of women in fiction, both as writers and as characters.  American Fictions gathers for the first time Hardwick's portraits of America's greatest writers.  Many of these pieces double as individual reminiscences about close friends, including Mary McCarthy, Katherine Anne Porter and Edmund Wilson.  Hardwick has achieved a permanent place in American letters for her sharp and elegant style.  Her essays are themselves a work of literature.

    Part autobiography, part history, part confession, this intertwined, powerful essay wonderfully describes the multiplicity of disciplines required to construct fiction. In "She Would Be the First Sentence of My Next Novel," a lyrical exploration of her own approach to writing novels, master writer Nicole Brossard offers to her readers the secrets and the struggles of writing in the feminine.

    . . the only critical book on prose poetry that not only provides a historical background for the prose poem in English, but also focuses on contemporary American prose poets."--Peter Johnson, Providence College The American prose poem has a rich history marked by important contributions from major writers. Michel Delville's book is the first full-length work to provide a critical and historical survey of the American prose poem from the early years of the 20th century to the 1990s. Delville reassesses the work of established prose poets in relation to the history of modern poetry and introduces writings by some whose work in the form has so far escaped mainstream critical attention (Sherwood Anderson, Kenneth Patchen, Russell Edson). He describes the genre's European origins and the work of several early representatives of a modern tradition of the prose lyric (Charles Baudelaire, Max Jacob, Franz Kafka, and James Joyce). By applying a broad range of theory to the history of the prose poem, Delville adds evidence to its reputation as a norm-breaking form by writing within, against, and across existing genres and traditions. He shows that the history of the contemporary prose poem is, in many respects, the record of its efforts to question both the nature of the "poetic" or "lyric" mode and the aesthetic and ideological foundations of a variety of other genres and subgenres.Michel Delville teaches at the University of Liège, Belgium, and is a senior research assistant at the National Fund for Scientific Research in Brussels. He is author of a study of J. G. Ballard and of articles on contemporary English and American literature.

    Every night, at a rundown tavern with a magnificent bar called the Cedar Tavern, an extraordinary group or painters, writers, poets, and hangers-on arrive to drink, argue, tell jokes, fight, start affairs, and bang out a powerful new aesthetic. Their style is playful, irreverent, tradition-shattering, and brilliant. Out of these friendships, and these conversations, will come the works of art and poetry that will define New York City as the capital of world culture--abstract expressionism and the New York School of Poetry.A richly detailed portrait of one of the great movements in American arts and letters, The Last Avant-Garde covers the years 1948-1966 and focuses on four fast friends--the poets Frank O'Hara, James Schuyler, John Ashbery, and Kenneth Koch. Lehman brings to vivid life the extraordinary creative ferment of the time and place, the relationship of great friendship to art, and the powerful influence that a group of visual artisits--especially Jane Freilicher, Larry Rivers, and Fairfield Porter--had on the literary efforts of the New York School.The Last Avant-Garde is both a definitive and lively view of a quintessentially American aesthetic and an exploration of the dynamics of creativity.

    It combines traditional Classical approaches to poetic allusion and imitation with modern literary-theoretical ways of thinking about how texts are used and reused, valued and revalued, in particular reading communities. Like other volumes in the series it is among the most broadly conceived short books on Roman literature to be published in recent years.

    This 2007 award winner shows how printed books are changing in step with positive developments in the digital world, and how librarians, teachers, and parents can recognize and appreciate good books for youth that: break barriers with accurate presentatio

    This compact, inexpensive companion to Joyce's masterpiece gives students an avenue into the novel as it introduces them to five important contemporary critical approaches.

    They base their claims on historical case studies purporting to show the systematic intrusion of sexist, racist, capitalist, colonialist, and/or professional interests into the very content of science. In this hard-hitting collection of essays, contributors offer crisp and detailed critiques of case studies offered by the cultural critics as evidence that scientific results tell us more about social context than they do about the natural world. Pulling no punches, they identify numerous crude factual blunders (e.g. that Newton never performed any experiments) and egregious errors of omission, such as the attempt to explain the slow development of fluid dynamics solely in terms of gender bias. Where there are positive aspects of a flawed account, or something to be learned from it, they do not hesitate to say so. Their target is shoddy scholarship. Comprising new essays by distinguished scholars of history, philosophy, and science, this book raises a lively debate to a new level of seriousness.

    To his contemporaries he was always a very private man, rather aloof, self-absorbed and inclined to cynicism. However, few could fault his skill as an artist, and his acute vision, mastery of design, and meticulous attention to often ignored detail single him out as one of the most important figures in nineteenth-century art history. The ballet, the racecourse and women at their toilet were his three favourite subjects and he returned to them again and again in the course of his long career, never feeling that he had exhausted these themes. Degas never forgot his early academic sketches to his late pastels the quality of his drawings never faltered.In this excellent introduction by Keith Roberts, Dr Helen Langdon has added the notes to the plates and numerous black-and-white comparative illustrations.

    The collection's twelve essays focus on earplay in texts by James Joyce, Ezra Pound, H.D., Samuel Beckett, William Burroughs, Amiri Baraka, Bob Kaufman, Robert Duncan, and Kamau Brathwaite and in performances by John Cage, Caribbean DJ-poets, and Cecil Taylor. From the early twentieth-century soundscapes of Futurist and Dadaist 'sonosphers' to Henri Chopin's electroacoustical audio-poames, the authors argue, these states of sound make bold but wavering statements--statements held only partially in check by meaning. The contributors are Loretta Collins, James A. Connor, Michael Davidson, N. Katherine Hayles, Nathaniel Mackey, Steve McCaffery, Alec McHoul, Toby Miller, Adalaide Morris, Fred Moten, Marjorie Perloff, Jed Rasula, and Garrett Stewart.

    She discusses multiple cultural forms--fiction, film, popular music, poetry, and essays--and a range of cultural topics--pedagogy, multiculturalism, fascism, sexuality, miscegenation, fantasy, nostalgia, and postcoloniality.

    Widely recognized as a seminal work in Ranci're's corpus, the translation of which is long overdue, Mute Speech is an intellectual tour de force proposing a new framework for thinking about the history of art and literature. Ranci're argues that our current notion of "literature" is a relatively recent creation, having first appeared in the wake of the French Revolution and with the rise of Romanticism. In its rejection of the system of representational hierarchies that had constituted belles-letters, "literature" is founded upon a radical equivalence in which all things are possible expressions of the life of a people. With an analysis reaching back to Plato, Aristotle, the German Romantics, Vico, and Cervantes and concluding with brilliant readings of Flaubert, Mallarm', and Proust, Ranci're demonstrates the uncontrollable democratic impulse lying at the heart of literature's still-vital capacity for reinvention.

    This collection of stunning autobiographical essays chronicles a lifetime of wrestling with demons and muses, chronic depression, a suicide attempt, a passionate love of jazz and blues, and unflinching honesty.

    . . . The first book in quite a while to address itself to all of Dostoevsky’s opus, certainly a bold move that only someone of Terras’s stature could pull off.”—Gary Rosenshield, University of Madison–WisconsinAdmirers have praised Fedor Dostoevsky as the Russian Shakespeare, while his critics have slighted his novels as merely cheap amusements. In this stimulating critical introduction to Dostoevsky’s fiction, literary scholar Victor Terras asks readers to draw their own conclusions about the nineteenth-century Russian writer. Discussing psychological, political, mythical, and philosophical approaches, Terras deftly guides readers through the range of diverse and even contradictory interpretations of Dostoevsky's rich novels.    Moving through the novelist's career, Terras presents a general analysis of the novel at issue, each chapter focusing on a particular aspect of Dostoevsky's art. He probes the form and style of Crime and Punishment, and explores the ambiguity of The Brothers Karamazov. Terras emphasizes the "markedness," of Dostoevsky's novels, their wealth of literary devices such as irony, literary allusions, scenic effects, puns, and witticisms.     Terras conveys the vital contradictions and ambiguities of the novels. In this informative, engaging literary study, Terras brings Dostoevsky and his art to life.

    Drawing on comic strip characters such as Buster Brown, Winnie Winkle, and Superman, Ian Gordon shows how, in addition to embellishing a wide array of goods with personalities, comic strips themselves increasingly promoted consumerist values and upward mobility.

    Literary anthologies and critical studies attest to a growing academic interest in the field. This book seeks to identify the forces behind this literary emergence and to explore both the unique place of Asian Americans in American culture and what that place says about the way Americanness is defined.The author is preoccupied with how the sense of the nation is disseminated through the practice of reading and writing, and he argues that Asian American literature is a productive discursive negotiation of the contemporary contradiction in American citizenship. By analyzing the textual strategies with which literary Asian America is represented, the book shows how the "fictive ethnicity" of the nation continues to exert its regulatory power and suggests how we can work toward a radical American democratic consent.Through nuanced readings of exemplary texts, the author delineates how Asian American literary production has become a site for the creation of Asian American subjects and community. The texts range from Kingston's enigmatic Tripmaster Monkey to the seductive cunning of Amy Tan's The Joy Luck Club; from Bharati Mukherjee's romantic Jasmine to the geocultural ambivalence of David Mura's Turning Japanese; and from the transvestic subversion of David Henry Hwang's M. Butterfly to the transpirational tropes of David Wong Louie's Pangs of Love.Imagining the Nation integrates a fine appreciation of the formal features of Asian American literature with the conflict and convergence among different reading communities and the dilemma of ethnic intellectuals caught in the process of their institutionalization. By articulating Asian American structures of feeling across the nexus of East and West, black and white, nation and diaspora, the book both sets out a new terrain for Asian American literary culture and significantly strengthens the multiculturalist challenge to the American canon.

    Literary fiction is probably the most active experimental laboratory of the world-constructing enterprise."—from the author's PrefaceThe standard contrast between fiction and reality, notes Lubomír Dolezel, obscures an array of problems that have beset philosophers and literary critics for centuries. Commentators usually admit that fiction conveys some kind of truth—the truth of the story of Faust, for instance. They acknowledge that fiction usually bears some kind of relation to reality—for example, the London of Dickens. But both the status of the truth and the nature of the relationship have baffled, frustrated, or repelled a long line of thinkers.In Heterocosmica, Lubomír Dolezel offers nothing less than a complete theory of literary fiction based on the idea of possible worlds. Beginning with a discussion of the extant semantics and pragmatics of fictionality—by Leibniz, Russell, Frege, Searle, Auerbach, and others—he relates them to literature, literary theory, and narratology. He also investigates theories of action, intention, and literary communication to develop a system of concepts that allows him to offer perceptive reinterpretations of a host of classical, modern, and postmodern fictional narratives—from Defoe through Dickens, Dostoevsky, Huysmans, Bely, and Kafka to Hemingway, Kundera, Rhys, Plenzdorf, and Coetzee. By careful attention to philosophical inquiry into possible worlds, especially Saul Kripke's and Jaakko Hintikka's, and through long familiarity with literary theory, Dolezel brings us an unprecedented examination of the notion of fictional worlds.

    Yet by the nineteenth century, characters had become the equals of their readers, friends with whom readers might spend time and empathize.Although the story of this shift is usually told in terms of the "rise of the individual," Deidre Shauna Lynch proposes an ingenious alternative interpretation. Elaborating a "pragmatics of character," Lynch shows how readers used transactions with characters to accommodate themselves to newly commercialized social relations. Searching for the inner meanings of characters allowed readers both to plumb their own inwardness and to distinguish themselves from others. In a culture of mass consumption, argues Lynch, possessing a belief in the inexpressible interior life of a character rendered one's property truly private.Ranging from Defoe and Smollett to Burney and Austen, Lynch's account will interest students of the novel, literary historians, and anyone concerned with the inner workings of consumer culture and the history of emotions.

    Broad coverage includes classic, reissue, alternative, world, and modern rock.

    Throughout, Friedman adapts current cultural theory from global and transnational studies, anthropology, and geography to challenge modes of thought that exaggerate the boundaries of gender, race, ethnicity, sexuality, class, and national origin. The author promotes a transnational and heterogeneous feminism, which, she maintains, can replace the proliferation of feminisms based on difference. She argues for a feminist geopolitical literacy that goes beyond fundamentalist identity politics and absolutist poststructuralist theory, and she continually focuses the reader's attention on those locations where differences are negotiated and transformed.Pervading the book is a concern with narrative: the way stories and cultural narratives serve as a primary mode of thinking about the politically explosive question of identity. Drawing freely on modernist novels, contemporary film, popular fiction, poetry, and mass media, the work features narratives of such writers and filmmakers as Gish Jen, Julie Dash, June Jordon, James Joyce, Gloria Anzald%a, Neil Jordon, Virginia Woolf, Mira Nair, Zora Neale Hurston, E. M. Forster, and Irena Klepfisz.Defending the pioneering role of academic feminists in the knowledge revolution, this work draws on a wide variety of twentieth-century cultural expressions to address theoretical issues in postmodern feminism.

    No other literary study features teen choices and opinions so prominently, actually quoting young people's evaluations of hundreds of books and authors.Opening with a fascinating array of definitions by writers, critics, and teenagers, MacRae organizes this elusive genre into manageable categories. Each chapter traces the development of one subgenre, featuring a detailed biographical critique of a contemporary American fantasist within that category.Librarians, educators, and other professionals who work with young adults and reading will find an inside track and a valuable reference guide to one of teens' most beloved genres. Both adult and teenaged fans of the literature, from the novice to the expert, will find Presenting Young Adult Fantasy Fiction a unique road map to their favorite imaginative territory. -Book Jacket

    It represented both the central thread of identity and a looking glass into the past. It served as an avenue into other minds, an essential part of the process of literary composition and narration, and the connective tissue of cultural tradition. In Joyce’s Book of Memory John S. Rickard demonstrates how Joyce’s body of work—Ulysses in particular—operates as a “mnemotechnic,” a technique for preserving and remembering personal, social, and cultural pasts. Offering a detailed reading of Joyce and his methods of writing, Rickard investigates the uses of memory in Ulysses and analyzes its role in the formation of personal identity. The importance of forgetting and repression, and the deadliness of nostalgia and habit in Joyce’s paralyzed Dublin are also revealed. Noting the power of spontaneous, involuntary recollection, Rickard locates Joyce’s mnemotechnic within its historical and philosophical contexts. As he examines how Joyce responded to competing intellectual paradigms, Rickard explores Ulysses’ connection to medieval, modern, and (what would become) postmodern worldviews, as well as its display of tensions between notions of subjective and universal memory. Finally, Joyce’s Book of Memory illustrates how Joyce distilled subjectivity, history, and cultural identity into a text that offers a panoramic view of the modern period. This book will interest students and scholars of Joyce, as well as others engaged in the study of modern and postmodern literature.

    And they will note the overlap of her ideas on ethics, religion, arts, and socialism, written in the 1830s, with her more famous husband's works, published 25 years later.

    Proposing instead that kitsch is the product of a larger sensibility of loss, Celeste Olalquiaga shows how it enables the momentary re-creation of experiences that exist only as memories or fantasies. Simultaneously exposing and celebrating this process, Olalquiaga gives us a bold, trenchant analysis of what and how we see when we look at kitsch.

    He finds that it was, indeed, an invention rather than a creation. From their heyday to the present, Kreyling investigates the historical conditions under which literary and cultural critics have invented "the South" and how they have chosen its representations. Through his study of these choices, Kreyling argues that interested groups have shaped meanings that preserve "a South" as "the South."

    Whether he is writing on the uniqueness of the American South, the death of Tupak Shakur, the O.J. Simpson verdict, or the damage done by the Oklahoma City bombing, Crouch's high-velocity exchange with American culture is conducted with scrupulous allegiance to the truth, even when it hurts—and it usually does. And on the subject of jazz—from Sidney Bechet to Billy Strayhorn, Duke Ellington to Miles Davis—there is no one more articulate, impassioned, and encyclopedic in his knowledge than Stanley Crouch.   Crouch approaches everything in his path with head-on energy, restless intelligence, and a refreshing faith in the collective experiment that is America—and he does so in a virtuosic prose style that is never less than thrilling.

    Taking readers behind the scenes and between the panels, this book will appeal to everyone who has ever read a comic strip or comic book. Via alphabetical entries, the authors take an irreverent, idiosyncratic look at creators, characters, companies, conventions, and collectors - why, everything including Kitchen Sink! Don't expect dry reference book reading - Duin and Richardson pull no punches in expressing opinions, from citing their favorite covers and costumes to exposing some of the darker sides of comics creation and publishing. In the course of researching the book, Steve Duin (the Portland Oregonian) interviewed more than 150 comics industry veterans. Their reminiscences provide first-person insights into the early days of comics in the 1930s, the studio days of the 1940s, the crisis in the 1950s, and the resurgence in the 1960s. The book also offers plenty of behind-the-scenes info about the eccentric personalities who have brought comics to the edge of the millennium.

    David Cottington examines the cubist movement and sets it within the complex political, economic, and cultural forces of pre-World War I France. Cubism, as a part of the Parisian artistic avant-garde, played an integral role in the turbulent Belle Epoque. The author focuses on cubism`s relation to the particular discourses—of nationalism, aestheticism, gender, the social purpose of art—that gave meaning to the experience of modernity in Paris in the decade before the war.In Part I of the book, the author discusses the "cubist conjuncture," the years that followed the collapse of the Bloc des Gauches. The Bloc, more than a parliamentary alliance, represented an effort of collaboration between the liberal middle class and sectors of the working class led by Parisian intellectuals and artists (future cubists among them). In the wake of the Bloc`s failure, workers withdrew into trade unionism and artists into aesthetic avant-gardism. Cottington analyzes this consolidation of the artistic avant-garde, its relation to the expanding dealer-centered art market, and the dominant and counter discourses of the day. In Part II, he considers specific aspects of cubist art and the cubist movement—from the conservative modernism of the paintings of Le Fauconnier and Gleizes to the aestheticism of Picasso`s papiers-collés to the collective architectural and interior design project of the "cubist house." These examples and others, Cottington concludes, reveal cubism as a contradictory and unstable constellation of interests and practices, sometimes complicit with dominant social and political forces, sometimes opposed to them, but in every case shaped by them.

    Now comes Sarris's definitive statement on film, in a masterwork that has taken 25 years to complete. Here is a sweeping--and highly personal--history of American film, from the birth of the talkies (beginning with The Jazz Singer and Al Jolson's memorable line You ain't heard nothin' yet) to the decline of the studio system. By far the largest section of the book celebrates the work of the great American film directors, with giants such as John Ford, Alfred Hitchcock, Charlie Chaplin, Orson Welles, and Howard Hawks examined film by film. Sarris also offers glowing portraits of major stars, from Garbo and Bogart to Ingrid Bergman, Margaret Sullavan, Spencer Tracy, Katharine Hepburn, Clark Gable, and Carole Lombard. There is a tour of the studios--Metro, Paramount, RKO, Warner Brothers, 20th Century Fox, Universal--revealing how each left its own particular stamp on film. And in perhaps the most interesting and original section, we are treated to an informative look at film genres--the musical, the screwball comedy, the horror picture, the gangster film, and the western. A lifetime of watching and thinking about cinema has gone into this book. It is the history that film buffs have been waiting for.

    A French Jew and Holocaust survivor, one of the world's leading Beckett scholars, and the author of over twenty books of fiction, poetry, and criticism, Federman has also been one of postmoderism's most radical literary innovators and most influential theoreticians.Federman A to X-X-X-X is the first major critical study devoted to his work to appear in America. Assembled by editors Larry McCaffery, Thomas Hartl, and Doug Rice, the volume unfolds as a series of several hundred alphabetically arranged entries in double columns forming an elaborate mock-encyclopedia of the sort Borges or Nabokov might have imagined. These entries include over a hundred representative stories, novel excerpts, essays, poems, and letters by Federman, many of which are previously unpublished, and hundreds of other entries by authors, critics, editors, and correspondents analyzing, criticizing, or often collaborating with Federman's works.Also included are individual entries on authors, artists, and books that influenced Federman, samples from a wide range of fiction, poetry, and criticism that illuminate his writing, a comprehensive bibliography of primary and secondary sources, as well as a generous selection of photographs, drawings, reproductions of paintings, documents, manuscript pages, and other visual materials. Among entries are a number of unpublished essays and commentaries about Federman's work commissioned specifically for this volume by well-known critics and translators including Brian McHale, Richard Martin, Ronald Sukenick, Geoffrey Green, and many others.

    A comprehensive collection of essays, speeches, and interviews on the impact of jazz on other arts, on politics, and on the rhythm of everyday life, including an essay on poet and novelist James Weldon Johnson as a cultural critic, an interview with Wynton Marsalis, a speech on the heroic image in jazz, and a newspaper review of Bring in 'Da Noise, Bring in 'Da Funk.

    These writings, illustrated throughout, provide a vivid composite portrait of the New York scene at a crucial time. There are pieces on key figures of the Abstract Expressionist, Pop, and neo-figurative schools; and on numerous other persuasions and tendencies of that revolutionary era.

    A collection of pieces on German, English and American literature by the great German author Arno Schmidt.

    This is neither a monograph nor a patchwork miscellany: certain motifs develop from one piece to the next: there is (almost) common ground, outlined in the opening piece called `Imagination and Lyric Voice'. `Middleton is easily the most intelligent and serious of our innovators,' writes John Lucas in the New Statesman, `a poet with a disconcerting knack of making it new in almost every poem.' He brings to his prose the inventive wisdom of the verse practitioner, so that when he writes on translation, it's about the art of translating rather than theories of the craft. `It is the action, of the original, of the translator, that I was exploring.' The conclusions he reaches are always provisional: what matters is the process of imagination and analysis by which they are reached, the journey rather than the point of arrival. `The essays are neither strictly theoretical, nor empirical, nor scholarly -- nor even literary, come to that.' Middleton's most celebrated essays `The Viking Prow', 1 and 2, are reprinted here, along with `The Pursuit of the Kingfisher'. Among authors specifically considered are Shakespeare, Coleridge, Holderlin, Mallarme, Blake, Brecht, Eich and Celan.

    to the present day. After two preliminary chapters on principles and contexts, there are chapters devoted to the Qu'ran as literature, poetry, belles-lettrist prose, drama, and criticism. The volume as a whole, which contains extensive quotations in English translation, a chronology and a guide to further reading, makes a major non-Western literary tradition newly accessible to students and scholars in the West.

    The volume gives a systematic account of many of the most important issues and texts in ancient moral psychology and ethical theory, providing a unified and illuminating way of reflecting on the fields as they developed from Socrates and Plato through Aristotle to Epicurus and the Stoic philosophers Chrysippus and Posidonius, and beyond.For the ancient philosophers, Cooper shows here, morality was good character and what that entailed: good judgment, sensitivity, openness, reflectiveness, and a secure and correct sense of who one was and how one stood in relation to others and the surrounding world. Ethical theory was about the best way to be rather than any principles for what to do in particular circumstances or in relation to recurrent temptations. Moral psychology was the study of the psychological conditions required for good character--the sorts of desires, the attitudes to self and others, the states of mind and feeling, the kinds of knowledge and insight.Together these papers illustrate brilliantly how, by studying the arguments of the Greek philosophers in their diverse theories about the best human life and its psychological underpinnings, we can expand our own moral understanding and imagination and enrich our own moral thought. The collection will be crucial reading for anyone interested in classical philosophy and what it can contribute to reflection on contemporary questions about ethics and human life.

    Such views are belied by the plays themselves, in which supremely violent actions occur in a legendary time and place distinct both from reality and from the ethics of ordinary life. Offering fresh readings of Attic tragedy, Anne Pippin Burnett urges readers to peel away twentieth-century attitudes toward vengeance and reconsider the revenge tragedies of ancient Athens in their own context.After a consideration of how our view of Elizabethan drama has obscured an accurate view of the ancient tragedies, Burnett reviews early Greek notions of vengeance as expressed in the Odyssey, Heracles' tales, Pindar's odes, Attic judicial processes, and the legend of Harmodius and Aristogeiton. Then, setting aside post-Platonic and Judeo-Christian notions of criminality, she provides new interpretations of all the Attic tragedies in which revenge is a central theme: Aeschylus' Libation Bearers, Sophocles' Ajax, Electra, and Tereus, and Euripides' Children of Heracles, Hecuba, Medea, Electra, and Orestes.Burnett shows that for the ancients, revenge meant a redress of imbalances in both human and divine worlds, achieved through human actions. The vengeful heroines thus appear in a new light. Electra, Hecuba, Medea, and others cease to be the picture of depravity in dramas that are grotesque and sensational, and are instead representative human figures who respond with grandeur to the outsize demands of necessity and supernatural powers.

    It introduces students to important metaphysical and epistemological issues including the theory of ideas, personal identity and skepticism, through the best of contemporary scholarship.

    Kreilkamp argues that Irish fiction needs to be rescued from the critical assumptions underlying attacks on the historical mythologies of Yeats and the Literary Revival.

    Austen died at the age of 41 and left behind only six completed novels. Yet her works have never been out of print, and in this century, within the last three decades in particular, never a year passes without some fresh adaptation of her stories for stage, screen, or television. In this skillfully crafted biography, Deirdre Le Faye brings Austen's tantalizingly elusive image into a distinct and refreshing light.

    This unique anthology assembles reviews of early works, major critical essays, excerpts from landmark studies, and the most influential examples of the criticism practiced today. The selections address the dominant questions in the American literary tradition: What are the cultural responsibilities of the American writer? What are the characteristics of a national literature? Is a national literature even possible? How do gender and race affect the way we understand literature? What role does literature play in a democratic society? Organized chronologically, the four sections of the volume gather the most vital and enduring arguments in American literary and cultural politics in each era, covering such prominent issues as American exceptionalism, the racial divide, gender, and class identity. The book pays particular attention to the historical background of contemporary debates about multiculturalism.American Literature, American Culture is ideal for undergraduate and graduate courses in American literature, criticism, and American Studies. It also serves as a useful supplementary text in upper-level courses in criticism. Its range proves that at every juncture of the nation's intellectual history, criticism has provided an indispensable way of determining America's most fundamental meanings.

    Each volume helps the reader to encounter the original work more fully by placing it in historical context, focusing on the important aspects of the text, and posing key questions.Monarch Notes include: Background on the author and the work Detailed plot summary Character anaylsis Major themes in the work Critical reception of the work Questions and model answers Guides to further study

    Winn, founding director of a leading humanities institute, contends that the disciplines we call the humanities have identified themselves excessively with the written word. He exposes the hostility and fear with which writers and philosophers throughout Western history have regarded forms of expression not couched in words, despite the fact that much of what humanists study originates in performance.Winn's brilliant and engaging readings of such figures as Plato, Augustine, Spenser, Milton, Dryden, Rousseau, and Kant underscore the long-standing Western prejudice against music and the similarly stubborn prejudices against theatrical display and the visual arts. The author then asks how the turn toward theory might help us reconsider the troubled relations between the humanities and performance; he discovers a bias toward the linguistic model deeply embedded even in the works of theorists who claim to be undermining the authority of language. Finding hope for a more inclusive view of performance in the thought of Roland Barthes and others, Winn concludes with pragmatic advice for the modern university and a proposal for humanities scholars and performers to form a new alliance.

    it brings to black studies and cultural critique an internationalism that emphasizes the richness of forms of creative expression outside the norms set by European aesthetics. Highly recommended..." --ChoiceCultural critic Clyde Taylor exposes the concept of "art" as a tool of ethnocentricity and racial ideology. By examining various texts including The Birth of a Nation and The Cotton Club, Taylor demonstrates how rationales of "art" are used to mask personal, class, and cultural biases. Other works such as those by Toni Morrison, Chinua Achebe, and Spike Lee are scrutinized in terms of resistance to the dominant system of aesthetics.