K. Rowling achieved astounding commercial success with her series of novels about Harry Potter, the boy-wizard who finds out about his magical powers on the morning of his eleventh birthday. The books' incredible popularity, and the subsequent likelihood that they are among this generation's most formative narratives, call for critical exploration and study to interpret the works' inherent tropes and themes. The essays in this collection assume that Rowling's works should not be relegated to the categories of pulp fiction or children's trends, which would deny their certain influence on the intellectual, emotional, and psychosocial development of today's children. The variety of contributions allows for a range of approaches and interpretive methods in exploring the novels, and reveals the deeper meanings and attitudes towards justice, education, race, foreign cultures, socioeconomic class, and gender.Following an introductory discussion of the Harry Potter phenomenon are essays considering the psychological and social-developmental experiences of children as mirrored in Rowling's novels. Next, the works' literary and historical contexts are examined, including the European fairy tale tradition, the British abolitionist movement, and the public-school story genre. A third section focuses on the social values underlying the Potter series and on issues such as morality, the rule of law, and constructions of bravery.

    In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation.For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other.Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.

    Contributors include bestselling legend David Brin, critically acclaimed novelist Scott Westerfeld, cult-favorite vampire author Chelsea Quinn Yarbro, and award-winner Sarah Zettel. The show and its cast are the topics of such critical pieces as Lawrence Watt-Evans's “Matchmaking in Hellmouth” and Sherrilyn Kenyon's “The Search for Spike's Balls.” An informed introduction for those not well acquainted with the show, and a source of further research for Buffy buffs, this book raises interesting questions concerning a much-loved program and future cult classic.

    His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including "Aperture," "Artforum" and "The Nation." In "Between the Eyes: Essays on Photography and Politics," Strauss tackles subjects as diverse as "Photography and Propaganda," the imagery of dreams, Sebastiao Salgado's epic social documents and the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay "Photography and Belief," and in "The Highest Degree of Illusion," Strauss discusses the media frenzy surrounding the events of September 11. As our world is shaped more and more by images and their slipperiness, what he calls a media "pandemonium" in its root meaning of "the place of all howling demons," we need a mind and voice like Levi Strauss' to bring clarity to our vision.

    From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.

    Spanning her work from the early 1980s, in which she pioneered a broadly poststructuralist approach to African American literature, and extending through her turn to cultural studies in the 1990s, these essays display her passionate commitment to reading as a fundamentally political act-one pivotal to rewriting the humanist project.Spillers is best known for her race-centered revision of psychoanalytic theory and for her subtle account of the relationships between race and gender. She has also given literary criticism some of its most powerful readings of individual authors, represented here in seminal essays on Ralph Ellison, Gwendolyn Brooks, and William Faulkner. Ultimately, the essays collected in Black, White, and in Color all share Spillers's signature style: heady, eclectic, and astonishingly productive of new ideas. Anyone interested in African American culture and literature will want to read them.

    The whole stands as his choice of the pieces he would have us read today if we are curious about what he’s been up to all this time. The result is an exciting and invigorating selection, a testament to one of the prose masters at work today. As the Louisville Courier-Journal noted, "Guy Davenport has few peers. Who can match his broad erudition, his mastery of forms—poetry, short fiction, essay, translation—and his wizardry with language?"

    They have selected a wide range of works, from graphic depictions of the body to abstract images suggesting or inviting different ideas of the erotic, and have arranged them into "rooms" just as in a real exhibition. Andy Warhol, Larry Clark, Richard Kern, Sarah Lucas, Cy Twombly, Lily van der Stokker, Jeff Burton, Karen Kilimnik and Paul McCarthy are just some of the 70 well known artists in the book, which includes paintings, drawings, sculpture, photography and video. The authors talk about their selection in a frank and elucidating conversation, presented in three parts. They consider many of the issues thrown up by the art and discuss - with humour and seriousness alike - how it reflects attitudes towards sex and the body.

    From the masterly fusion of romance and realism in Wuthering Heights to the passion and drama of Jane Eyre, the works of these three sisters have captured the hearts and imagination of readers everywhere. Their tragic, real-life stories only contribute to the timeless attraction to these three brilliant writers. With The Oxford Companion to the Bront�s, Christine Alexander and Margaret Smith provide a comprehensive volume about the lives, works, and reputations of the Bront� sisters, together with their father, Patrick, an author in his own right, and their brother, Branwell who, along with his sister Charlotte, created the imaginary world of Angria. This authoritative guide is organized in an easy-to-use A-Z format, offers extensive cross-referencing, and provides chronologies of the sisters' work, including a list of juvenilia, first line of poems and Bront� art, as well as maps and illustrations for quick, easy study and further research. In addition, the authors offer insight into the publishing history, biographical studies, collectors and museums, book illustrations, and theoretical and critical approaches to the Bront�s' writing. The Oxford Companion to the Bront�s is a unique and fascinating guide that will appeal to all lovers of English literature.

    This volume is a study of the classic western film Rio Bravo, which, according to the author, remains "beyond politics, as an argument as to why we should all want to go on living."

    This book-length celebration and analysis of the Artistic Event of the Century includes an exclusive interview and introduction by League of Extraordinary Gentlemen co creator and author Alan Moore; commentary by co-creator a nd illustrator Kevin O'Neill: detailed, panel-by-panel annotations of the first League of Extraordinary Gentlemen series.

    While critics have lauded Wagner's Tristan and Isolde for the originality and subtlety of the music, they have denounced the drama as a mere trifle--a rendering of Wagner's forbidden love for Matilde Wesendonck, the wife of a banker who supported him during his exile in Switzerland.Death-Devoted Heart explodes this established interpretation, proving the drama to be more than just a sublimation of the composer's love for Wesendonck or a wistful romantic dream. Scruton boldly attests that Tristan and Isolde has profound religious meaning and remains as relevant today as it was to Wagner's contemporaries. He also offers keen insight into the nature of erotic love, the sacred qualities of human passion, and the peculiar place of the erotic in our culture. His argument touches on the nature of tragedy, the significance of ritual sacrifice, and the meaning of redemption, providing a fresh interpretation of Wagner's masterpiece. Roger Scruton has written an original and provocative account of Wagner's music drama, which blends philosophy, criticism, and musicology in order to show the work's importance in the twenty-first century.

    His argument has important implications for both literary studies and narrative theory.Characterization has long been a troubled and neglected problem within literary theory. Through close readings of such novels as Pride and Prejudice, Great Expectations, and Le P�re Goriot, Woloch demonstrates that the representation of any character takes place within a shifting field of narrative attention and obscurity. Each individual--whether the central figure or a radically subordinated one--emerges as a character only through his or her distinct and contingent space within the narrative as a whole. The character-space, as Woloch defines it, marks the dramatic interaction between an implied person and his or her delimited position within a narrative structure. The organization of, and clashes between, many character-spaces within a single narrative totality is essential to the novel's very achievement and concerns, striking at issues central to narrative poetics, the aesthetics of realism, and the dynamics of literary representation.Woloch's discussion of character-space allows for a different history of the novel and a new definition of characterization itself. By making the implied person indispensable to our understanding of literary form, this book offers a forward-looking avenue for contemporary narrative theory.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    

    By looking at the precedents, circumstances, and artistry of the first perfect poems composed by John Milton, John Keats, T. S. Eliot, and Sylvia Plath, Coming of Age as a Poet offers rare insight into this mysterious process, and into the indispensable period of learning and experimentation that precedes such poetic achievement.Milton's L'Allegro, Keats's On First Looking into Chapman's Homer, Eliot's The Love Song of J. Alfred Prufrock, and Plath's The Colossus are the poems that Helen Vendler considers, exploring each as an accession to poetic confidence, mastery, and maturity. In meticulous and sympathetic readings of the poems, and with reference to earlier youthful compositions, she delineates the context and the terms of each poet's self-discovery--and illuminates the private, intense, and ultimately heroic effort and endurance that precede the creation of any memorable poem.With characteristic precision, authority, and grace, Vendler helps us to appreciate anew the conception and the practice of poetry, and to observe at first hand the living organism that breathes through the words of a great poem.

    It includes over forty specially commissioned essays by an outstanding team of scholars. Each essay is written in an accessible and engaging styleand is followed by annotated suggestions for further reading. Shakespeare: An Oxford Guide is divided into four key parts. Part One offers concise introductions to the literary and historical contexts in which Shakespeare lived and worked. It covers the society, culture, language, theatre, and playwriting conventions of Shakespeare's time and alsodiscusses his contemporary impact. Part Two offers critical overviews of Shakespeare's achievements in the major genres. Each overview is followed by a reading that explores Shakespeare's use of the traditions, scope, and boundaries of that genre in one of his key works. Part Three discusses currentcritical approaches to the study of Shakespeare. Each chapter outlines a specific approach and is followed by a reading applying that approach to one of Shakespeare's works. Part Four offers chapters on Shakespeare's intellectual and cultural impact over the ages.

     Drawing on a lifetime's experience of studying, teaching, editing, and writing about Shakespeare, Stanley Wells combines scholarly authority with authorial flair in a book that will appeal equally to the specialist and the untutored enthusiast. Chapters on Shakespeare's life in Stratford and in London offer a fresh view of the development of the writer's career and personality. At the core of the book lies a magisterial study of the writings themselves--how Shakespeare set about writing a play, his relationships with the company of actors with whom he worked, his developing mastery of the literary and rhetorical skills that he learned at the Stratford grammar school, the essentially theatrical quality of the structure and language of his plays. Subsequent chapters trace the fluctuating fortunes of his reputation and influence. Here are accounts of adaptations, productions, and individual performances in England and, increasingly, overseas; of great occasions such as the Garrick Jubilee and the tercentenary celebrations of 1864; of the spread of Shakespeare's reputation in France and Germany, Russia and America, and, more recently, the Far East; of Shakespearian discoveries and forgeries; of critical reactions, favorable and otherwise, and of scholarly activity; of paintings, music, films and other works of art inspired by the plays; of the plays' use in education and the political arena, and of the pleasure and intellectual stimulus that they have given to an increasingly international public. Shakespeare, said Ben Jonson, was not of an age but for all time. This is a book about him for our time.

    In this work, the authors re-imagine IR as a uniquely placed site for the study of differences as organized explicitly around the exploration of the relation of wholes and parts and sameness and difference-and always the one in relation to the other.

    Recognizing that the rubric "Asian American" elides crucial differences, Kandice Chuh argues for reframing Asian American studies as a study defined not by its subjects and objects, but by its critique. Toward that end, she urges the foregrounding of the constructedness of "Asian American" formations and shows how this understanding of the field provides the basis for continuing to use the term "Asian American" in light of—and in spite of—contemporary critiques about its limitations.Drawing on the insights of poststructuralist theory, postcolonial studies, and investigations of transnationalism, Imagine Otherwise conceives of Asian American literature and U.S. legal discourse as theoretical texts to be examined for the normative claims about race, gender, and sexuality that they put forth. Reading government and legal documents, novels including Carlos Bulosan's America Is in the Heart, John Okada's No-No Boy, Chang-rae Lee's A Gesture Life, Ronyoung Kim's Clay Walls, and Lois Ann Yamanaka's Blu's Hanging, and the short stories "Immigration Blues" by Bienvenido Santos and "High-Heeled Shoes" by Hisaye Yamamoto, Chuh works through Filipino American and Korean American identity formation and Japanese American internment during World War II as she negotiates the complex and sometimes tense differences that constitute 'Asian America' and Asian American studies.

    In these conversations Messiaen talks about his sources of inspiration, his musical methods, and his broad aesthetic views.

    Yet he has become one of the most anthologized writers in English and one of the most collected British artists. His urge to create masterpieces of revelation has left complex (and sometimes bizarre) works of written and visual art. The essays in this Companion and a chronology, guides to further reading, and glossary of Blake's terms identify the key points of departure into Blake's diverse world.

    Art. In SEEING OUT LOUD, Saltz critically engages with notable works of art by over 100 notable artists ranging from Picasso, Matisse, and Warhol to Matthew Barney, Gerhard Richter, and Chris Ofili. These reviews appeared in the Village Voice between November 1998 and winter 2003. "Jerry Saltz is the best informed and hair-trigger liveliest of contemporary art critics, tracking pleasure and jump-starting intelligence on the fly. Jerry's fast takes usually stand up better in retrospect than other people's long views"---Peter Schjedahl. "Jerry Saltz looks at art from the perspective of the viewer, the ignorant, the lover, and the enemy. His writing is overwhelmingly passionate, yet without sentimentality. His words pierce the content and beauty of each work of art to test its endurance in time and memory"---Francesco Bonami, Curator, 2003 Venice Biennale.

    Her innovative approach makes possible a new understanding of the unity of the book that rejects its dismantling in historical criticism and the flattening of the text that characterizes many final form readings. Additionally, she rehabilitates the moral perspectives represented by certain voices of the book that modern critics have treated with disdain.

    Guided by disciplines ranging from mathematics to psychoanalysis, inspired as much by Plato and Cantor as by Mao and Mallarm(r), BadiouOCOs work renews, in the most varied and spectacular terms, a decidedly ancient understanding of philosophyOCophilosophy as a practice conditioned by truths, understood as militant processes of emancipation or transformation. This book is the first comprehensive introduction to BadiouOCOs thought to appear in any language. Assuming no prior knowledge of his work, it provides a thorough and searching overview of all the main components of his philosophy, from its decisive political orientation through its startling equation of ontology with mathematics to its resolute engagement with its principal competition (from Wittgenstein, Heidegger, and Deleuze, among others). The book draws on all of BadiouOCOs published work and a wide sampling of his unpublished work in progress, along with six years of correspondence with the author.a Peter Hallward pays careful attention to the aspect of BadiouOCOs work most liable to intimidate readers in continental philosophy and critical theory: its crucial reliance on certain key developments in modern mathematics. Eschewing unnecessary technicalities, Hallward provides a highly readable discussion of each of the basic features of BadiouOCOs ontology, as well as his more recent account of appearance and OC being-there.OCO Without evading the difficulties, Peter Hallward demonstrates in detail and in depth why BadiouOCOs ongoing philosophical project should be recognized as the most resourceful and inspiring of his generation."

    Drawing from personal interviews with many of the participants, from unpublished letters, and from rare sound recordings, Daniel Kane brings together for the first time the people, political events, and poetic roots that coalesced into a highly influential community. From the poetry-reading venues of the early sixties, such as those at the Les Deux Mégots and Le Metro coffeehouses to The Poetry Project at St. Mark's Church, a vital forum for poets to this day, Kane traces the history of this literary renaissance, showing how it was born from a culture of publicly performed poetry. The Lower East Side in the sixties proved foundational in American verse culture, a defining era for the artistic and political avant-garde.The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, Bill Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and many others enliven these pages, and the thirty five-track CD includes recordings of several of the poets reading from their work in the sixties and seventies. The Lower East Side's cafes, coffeehouses, and salons brought together poets of various aesthetic sensibilities, including writers associated with the so-called New York School, Beats, Black Mountain, Deep Image, San Francisco Renaissance, Umbra, and others. Kane shows that the significance for literary history of this loosely defined community of poets and artists lies in part in its reclaiming an orally centered poetic tradition, adapted specifically to open up the possibilities for an aesthetically daring, playful poetics and a politics of joy and resistance.

    In Gender Talk Johnnetta Betsch Cole and Beverly Guy-Sheftall argue powerfully that the only way to defeat this legacy is to focus on the intersection of race and gender. Examining why the “race problem” has become so male-centered and how this has opened a deep divide between Black women and men, the authors turn to their own lives, offering intimate accounts of their experiences as daughters, wives, and leaders. They examine pivotal moments in African American history when race and gender issues collided with explosive results. Along the way, they present the testimonies of a large and influential group of Black women and men, including Byllye Avery, Derrick A. Bell, Farai Chideya, Kimberlé Crenshaw, Michael Eric Dyson, Marcia Gillespie, bell hooks, and Faye Wattleton. Fearless and eye-opening, Gender Talk is required reading for anyone concerned with the future of African American women—and men.

    Ranging from Shakespeare's sonnets to Eliot, Frost, and Simic, Melodies Unheard offers profound insight into poetic form, meter, rhyme, and meaning--into the mysteries of poetry itself. Anthony Hecht's vast knowledge of literature and his gift for mesmerizing argument are both amply present in Melodies Unheard. Whether defending the sestina against accusations of boredom and dolefulness or examining the structure of Shakespeare's sonnets or unraveling some of the complexity of Moby-Dick, these essays are models of civility, candor, and grace. I know of no other poet, certainly none of Anthony Hecht's stature, who sheds as much light on the intricacies and hidden designs of poems and who does it with such style.--Mark Strand Anthony Hecht declares himself 'a poet first and only secondarily a critic, ' but Melodies Unheard proves again that he is a master in both trades. His discourse on such subjects as rhyme, the sestina, and 'the music of forms' is both scholarly and delightful; his articles on individual poets are finely done; and best of al

    What is particularly impressive about this collection is the thoughtfulness with which it is put together.” —Gary Saul Morson, Northwestern University Vladimir S. Soloviev (1853–1900), moral philosopher, social and literary critic, theologian, and poet, is considered one of Russia’s greatest philosophers. But Soloviev is relatively unknown in the West, despite his close association with Fyodor Dostoevsky, who modeled one of his most famous literary characters, Alyosha Karamazov, on Soloviev. In The Heart of Reality, Vladimir Wozniuk offers a lucid translation, careful annotations, and a substantive introduction that make many of Soloviev’s writings accessible for the first time to an English-speaking audience. Soloviev worked tirelessly in the name of the mystical body of the Universal Church. The vast bulk of his writings can be construed as promoting, in one way or another, the cause of ecumenism. His essays also display the influence of Platonic and German Idealism and strands of Thomistic thinking. Wozniuk demonstrates the consistency of Soloviev’s biblically-based thought on the subjects of aesthetics, love, and ethics, while at the same time clarifying Soloviev’s concept of vseedinstvo (the unity of spiritual and material), especially as applied to literature. Containing many previously untranslated essays, The Heart of Reality situates Soloviev more clearly in the mainstream of Western religious philosophy and Christian thought.

    The one who is speaking is inevitably revealed by the singular sound of her voice, no matter "what" she says. We take this fact for granted—for example, every time someone asks, over the telephone, "Who is speaking?" and receives as a reply the familiar utterance, "It's me." Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the "devocalization of Logos," as the invariable privileging of semantike over phone, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a "politics of the voice" wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather who is speaking.

    This definitive study give us a finely detailed, deeply felt understanding of Stein, the great modernist, throughout one of her most productive periods. From "An Elucidation" in 1923 to Lectures In America in 1934, Ulla E. Dydo examines the process of the making and remaking of Stein's texts as they move from notepad to notebook to manuscript, from an idea to the ultimate refinement of the author's intentions. The result is an unprecedented view of the development of Stein's work, word by word, text by text, and over time.

    In the present volume, long-time collaborator Nicola Del Roscio brings together a total of 43 contemporary commentaries on Twombly in the form of poems, exhibition reviews, letters, philosophical essays and discussions of art history, dating from 1951 (the year of his first solo show) through to the present. The collection commences with an early piece by American poet Charles Olson and is followed by a panoply of different literary voices, including Roland Barthes, Heiner Bastian, Gottfried Boehm, Arthur C. Danto, Max Kozloff, Robert Motherwell, Frank O'Hara, Octavio Paz, Pierre Restany, Harald Szeemann and Kirk Varnedoe.

    This son of Russian Jews wrote out of the tensions of the outsider and the astute, outspoken leftist -- or, as he put it, "the bitter patriotism of loving what one knows." Editor Ted Solotaroff hasselected material from Kazin's three classic memoirs to accompany his critical writings. Alfred Kazin's America provides an ongoing example of the spiritual freedom, individualism, and democratic contentiousness that he regarded as his heritage and endeavored to pass on.

    Essays. REVOLUTION IN THE SERVICE OF THE MARVELOUS contains twenty essays by one of contemporary surrealism's major poets and theorists, Chicago Surrealist Group co-founder Franklin Rosemont. These essays focus on ways in which surrealist perspectiveshave continued to evolve and expand since the movement's worldwide resurgence in the 1960s. This wide-ranging and well-illustrated collection includes prefaces to international surrealist exhibitions and texts concerning wilderness, the politics of humor, the black radical tradition, and the critique of whiteness--documenting key developments in surrealism's collective evolution. Other essays explore the work of individual poets, painters, musicians and dancers whose creative activity exemplifies the movement's ongoing transformative project.

    By the 19th century, they were perceived as dusty and dried up, dead from the waist down, as Browning so wickedly put it. In this study, a literary critic explores the various ways we have thought about scholars and scholarship through the ages. classical scholar Isaac Casaubon who lived from 1559 to 1614; Mark Pattison, 19th-century rector at Oxford; and Mr Casaubon in George Eliot's Middlemarch. The three are intricately related, for Pattison was seen by many as the model for Eliot's Mr Casaubon and he was also the author of the best book on Isaac Casaubon. Nuttall offers a penetrating interpretation of Middlemarch and then describes how Pattison recorded his own introverted intellectual life and self-lacerating depression. He presents Isaac Casaubon, on the other hand, as a fulfilled scholar who personifies the ideal of detailed, unspectacular truth-telling, often imperilled in our own culture. Nuttall concludes with a meditation on morality, sexuality and the true virtues of scholarship.

    

    Through detailed readings of how discourses of race, sexuality, colonialism, and animality interact in twentieth-century American culture, Wolfe explores what it means, in theory and critical practice, to take seriously "the question of the animal."

    But the truth is different: literature and art are pathways of feeling, and our encounter with them is social, inscribing us in a larger community.... Through art we discover that we are not alone.”So writes the esteemed Brown University professor Arnold Weinstein in this brilliant, radical exploration of Western literature. In the tradition of Harold Bloom and Jacques Barzun, Weinstein guides us through great works of art, to reveal how literature constitutes nothing less than a feast for the heart. Our encounter with literature and art can be a unique form of human connection, an entry into the storehouse of feeling.Writing about works by Sophocles, Shakespeare, Dickens, Charlotte Brontë, Munch, Proust, O’Neill, Burroughs, DeLillo, Tony Kushner, Toni Morrison, and others, Weinstein explores how writers and artists give us a vision of what human life is really all about. Reading is an affair of the heart as well as of the mind, deepening our sense of the fundamental forces and emotions that govern our lives, including fear, pain, illness, loss, depression, death, and love.Provocative, beautifully written, essential, A Scream Goes Through the House traces the human cry that echoes in literature through the ages, demonstrating how intense feelings are heard and shared. With intellectual insight and emotional acumen, Weinstein reveals how the scream that resounds through the house of literature, history, the body, and the family shows us who we really are and joins us together in a vast and timeless community.From the Hardcover edition.

    And indeed something of that spirit—a curious, open engagement with the now, in its slippery and uncertain character—animates this book." —Mark Doty, from his IntroductionIn a shifting world, concepts of place and home take many forms. Mark Doty gathers an impressive group of writers to describe their contemporary sense of home. Victoria Redel lives her teenage years from inside a fifteen-pound body cast—loving and hating the loss of her body; Barbara Hurd finds that within a cave, the absence of all light allows for clarity of vision; and Andrea Barrett wipes filth from a sill in her Brooklyn apartment only to realize that the dirt is actually “ash of buildings, ash of planes. Ash of people.” Surroundings—walls, trees, or states of mind—are defined by our reactions to them. These essays are about how the mind can create a home—for a moment, or for a lifetime.Contributors include Bernard Cooper, Carol Muske-Dukes, Deborah Lott, Elizabeth McCracken, Mary Morris, and Terry Tempest Williams.

    Lewis continues to be a rich mine of Christian thought and perspective. And each work continues to be as relevant today as it was at its original publishing. And now, Lewis scholar Louis Markos has done the community of faith a great service by organizing Lewis's thoughts on a wide scope of subjects pertaining to modernity and postmodernity—on science and the natural world, the new age movement, philosophy, evil and suffering, the arts, and heaven and hell. Lewis Agonistes will make readers work in the same way that Lewis's writings made them work, forcing them to rethink and examine ideas—to become participants in the agon (or wrestling match) of the twenty-first century.

    Named after the primitive hand lamp wicks used to light cave walls, the book, in Ronald Gottesman's words, is "a fabulous three-dimensional tapestry of scholarship. Original and intense, it poses serious questions about human nature and its relation to the animal and natural worlds."Juniper Fuse is also a profound examination, in poetry and in prose, of the nature of poetic imagination and personal myth-making. Drawing upon art history and archaeology as well as poetics and personal experience, Eshleman delivers a potent distillation of the "paleoecology" of our minds, a provocative, and wholly passionate, exploration into the nature of consciousness.

    Burr Chair of Letters, University of OklahomaCruel Delight: Enlightenment Culture and the Inhuman investigates the fascination with joyful malice in eighteenth-century Europe and how this obsession helped inform the very meaning of humanity. Steintrager reveals how the understanding of cruelty moved from an inexplicable, apparently paradoxical "inhuman" pleasure in the misfortune of others to an eminently human trait stemming from will and freedom. His study ranges from ethical philosophy and its elaboration of moral monstrosity as the negation of sentimental benevolence, to depictions of cruelty-of children mistreating animals, scientists engaged in vivisection, and the painful procedures of early surgery-in works such as William Hogarth's "The Four Stages of Cruelty," to the conflict between humane sympathy and radical liberty illustrated by the writings of the Marquis de Sade. In each instance, the wish to deny a place for cruelty in an enlightened world reveals a darker side: a deep investment in depravity, a need to reenact brutality in the name of combating it, and, ultimately, an erotic attachment to suffering.

    of Denver) analyzes the postmodern metafiction of American writer Coover (b. 1932). After a general chapter, he focuses in turn on early works, The Public Burning, and later works. Annotation ©2003 Book News, Inc., Portland, OR

    Here Schmidt discusses, again, his beloved James Joyce, as well as the English writer Bulwer-Lytton, and the German language authors Schnabel, Herder, Stifter, Frenssen and others.One of the most noted of German writers of the 20th century Arno Schmidt died in 1979. He was author of The Egghead Republic, Nobadaddy's Children, Zettle's Traum (forthcoming from Green Integer) and The School for Atheists.

    The key figures he has chosen are Titian, Rubens, Velásquez, and Hogarth. Appreciating it takes a little patience and some art historical context, and Collings does a fine job aiding the would-be aesthete’s eye and brain.

    Leibniz, Simon Foucher and Pierre-Daniel Huet, and Pierre Bayle. The bibliography has also been updated.

    Joyce's stories do this by provoking skepticism in the face of their storytelling. Their narrative unreliabilities--produced by strange gaps, omitted scenes, and misleading narrative prompts--arouse suspicion and oblige the reader to distrust how and why the story is told.As a result, one is prompted to look into what is concealed, omitted, or left unspoken, a quest that often produces interpretations in conflict with what the narrative surface suggests about characters and events. Margot Norris's strategy in her analysis of the stories in Dubliners is to refuse to take the narrative voice for granted and to assume that every authorial decision to include or exclude, or to represent in a particular way, may be read as motivated. Suspicious Readings of Joyce's Dubliners examines the text for counterindictions and draws on the social context of the writing in order to offer readings from diverse theoretical perspectives.Suspicious Readings of Joyce's Dubliners devotes a chapter to each of the fifteen stories in Dubliners and shows how each confronts the reader with an interpretive challenge and an intellectual adventure. Its readings of An Encounter, Two Gallants, A Painful Case, A Mother, The Boarding House, and Grace reconceive the stories in wholly novel ways--ways that reveal Joyce's writing to be even more brilliant, more exciting, and more seriously attuned to moral and political issues than we had thought.

    Each of us defines fantasy in a personal way, based on our life stories, experiences, hopes, dreams, and fears. Fantasy Literature for Children and Young Adults, helps teachers and students of literature to develop their own understandings of this broad genre in order to evaluate and promote the joy of fantasy in their classrooms. An excellent teaching tool, the discussions are organized around three categories of fantasy literature, including fairy/folktale; mixed fantasy (which includes journey, transformation, talking animal, and magic); and heroic-ethical; and they are supported by well-chosen examples of representative authors, critics, and theorists. With the assumption that the reader has no special knowledge of fantasy literature but has some previous exposure to the study of literature for children and young adults, this book focuses on reviewing texts that illustrate particular types of fantasy literature. The authors have an extensive knowledge of both classic and contemporary children's and YA titles, and they offer many insightful observations and details that make a book a particularly good classroom choice. Literature allows us to discuss controversial issues without making judgments; it allows us the opportunity to "experience" another time and space by providing a new lens through which to view; and it offers us a multitude of ways to come to appreciate and embrace the world of fantasy. Fantasy Literature for Children and Young Adults will help teachers and other readers to deepen their knowledge, appreciation, and pedagogical understandings of fantasy literature.

    But in eighteenth-century England, privacy was seen as a problem, even a threat. Women reading alone and people hiding their true thoughts from one another in conversation generated fears of uncontrollable fantasies and profound anxieties about insincerity.In Privacy, Patricia Meyer Spacks explores eighteenth-century concerns about privacy and the strategies people developed to avoid public scrutiny and social pressure. She examines, for instance, the way people hid behind common rules of etiquette to mask their innermost feelings and how, in fact, people were taught to employ such devices. She considers the erotic overtones that privacy aroused in its suppression of deeper desires. And perhaps most important, she explores the idea of privacy as a societal threat—one that bred pretense and hypocrisy in its practitioners. Through inspired readings of novels by Defoe, Richardson, Fielding, and Sterne, along with a penetrating glimpse into diaries, autobiographies, poems, and works of pornography written during the period, Spacks ultimately shows how writers charted the imaginative possibilities of privacy and its social repercussions.Finely nuanced and elegantly conceived, Spacks's new work will fascinate anyone who has relished concealment or mourned its recent demise.

    Teachers have found that including this virtuoso work of art on a syllabus reaps many rewards and stirs up heated classroom discussion -- on sex and sexuality, dysfunction in the family, gender roles, society's hypocrisy and cruelty. But translation and transliteration problems, the peculiarity of Russian names and terms, and the unfamiliarity of Russian geography and history present a range of pedagogical challenges.

    Relying on a wide selection of previously unpublished writings, Patricia Laurence places Ling, often referred to as the Chinese Katherine Mansfield, squarely in the Bloomsbury constellation. In doing so, she counters East-West polarities and suggests forms of understanding to inaugurate a new kind of cultural criticism and literary description.Laurence expands her examination of Bell and Ling's relationship into a study of parallel literary communities - Bloomsbury in England and the Crescent Moon group in China. Underscoring their reciprocal influences in the early part of the twentieth century, Laurence presents conversations among well-known British and Chinese writers, artists, and historians, including Virginia Woolf, Vanessa Bell, G. L. Dickinson, Xu Zhimo, E. M. Forster, and Xiao Qian. In addition, Laurence's study includes rarely seen photographs of Julian Bell, Ling, and their associates as well as a reproduction of Ling's scroll commemorating moments in the exchange between Bloomsbury and the Crescent Moon group.While many critics agree that modernism is a movement that crosses national boundaries, literary studies rarely reflect such a view. In this volume Laurence links unpublished letters and documents, cultural artifacts, art, literature, and people in ways that provide illumination from a comparative cultural and aesthetic perspective. In so doing she addresses the geographical and critical imbalances - and thus the architecture of modernist, postcolonial, Bloomsbury, and Asianstudies - by placing China in an aesthetic matrix of a developing international modernism.

    It examines some of the most influential and important novelists of the twentieth century, such as Luigi Pirandello, Primo Levi, Umberto Eco and Italo Calvino. Readers will be exposed to the vitality of the Italian novel throughout its history, in addition to learning about the debates and criticism that have contributed to its development.

    Radhakrishnan's thought-provoking engagement with theorists and writers from around the world will fascinate readers across a wide range of disciplines. A major intervention into debates about the postcolonial and the global. Proposes that theory bear the burden of unevenness even as it seeks a way out of it - neither captive to the world as it is, nor naively credulous of visions of the world as it should be, theory argues for an ethics of persuasion that is firmly rooted in political resistance. Engages with a wide range of theorists and writers from around the world. Ranges over fields as diverse as critical theory, postmodernism, poststructuralism, postcolonialism, minority studies, cultural studies and anthropology.

    Even such words as 'ecstasy' or 'mysticism' denote clear-cut concepts. The book investigates how such a conceptual language can convey such non-conceptual experiences as meditation, ecstasy or mystic insights. Briefly, it explores how the poet, by using words, can express the 'ineffable'. It submits to close reading English, French, German, Spanish, Italian, Armenian and Hebrew texts, from the Bible, through medieval, renaissance, metaphysical, and baroque poetry, to (secular) romantic and symbolistic poetry.

    1. The poem, which is probably the most ambitious and least understood work of Depression-era American verse, commemorates the worst industrial accident in U.S. history, the Gauley Tunnel tragedy. In this terrible disaster, an undetermined number of men—likely somewhere between 700 and 800—died of acute silicosis, a lung disorder caused by prolonged inhalation of silica dust, after working on a tunnel project in Fayette County, West Virginia, in the early 1930s.After many years of relative neglect, The Book of the Dead has recently returned to print and has become the subject of critical attention. In Muriel Rukeyser’s “The Book of the Dead,” Tim Dayton continues that study by characterizing the literary and political world of Rukeyser at the time she wrote The Book of the Dead. Rukeyser’s poem clearly emerges from 1930s radicalism, as well as from Rukeyser’s deeply felt calling to poetry. After describing the world from which the poem emerged, Dayton sets up the fundamental factual matters with which the poem is concerned, detailing the circumstances of the Gauley Tunnel tragedy, and establishes a framework derived from the classical tripartite division of the genres—epic, lyric, and dramatic. Through this framework, he sees Rukeyser presenting a multifaceted reflection upon the significance, particularly the historical significance, of the Gauley Tunnel tragedy. For Rukeyser, that disaster was the emblem of a history in which those who do the work of the world are denied control of the vast powers they bring into being.Dayton also studies the critical reception of The Book of the Dead and determines that while the contemporary response was mixed, most reviewers felt that Rukeyser had certainly attempted something of value and significance. He pays particular attention to John Wheelwright’s critical review and to the defenses of Rukeyser launched in the 1980s and 1990s by Louise Kertesz and Walter Kalaidjian. The author also examines the relationship between Marxism as a theory of history governing The Book of the Dead and the poem itself, which presents a vision of history.Based upon primary scholarship in Rukeyser’s papers, a close reading of the poem, and Marxist theory, Muriel Rukeyser’s “The Book of the Dead” offers a comprehensive and compelling analysis of The Book of the Dead and will likely remain the definitive work on this poem.

    Starting with one of the most important assessments of Bob Dylan to appear in print for many years, these essays range from the psychedelia of the Beatles and the rebellion of the Rolling Stones to the political activism of John Lennon, the 'dark doings' of David Bowie and the spiritual quest of Nick Drake. In the central essay of this collection, The People's Music, MacDonald argues that the emergence of the Beatles in the early sixties changed the world of music for ever, as the power in the industry shifted to the audience. Combining a close reading of the music with a detailed understanding of the times, this collection confirms Ian MacDonald's reputation as one of Britain's most important music journalists. Enlightening and entertaining, The People's Music is music writing as its best.

    It covers the work of major modernists such as Robert Frost, Ezra Pound, Wallace Stevens, and Marianne Moore, as well as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats.

    This book delivers the grid for evaluating medical treatments and systems and alternative therapies. Having separated the fantasies from the hard facts, it shows how to develop a "recipe" for holistic health.

    Praise for Breakfast Served:". . . the essays in this book are engaging, passionate, strange, and unified. Hall has been around a long time, and you can trace the concerns of a generation through the mind of this one man: questions about the diminished scope of poetry, the diminished ambitions of poets, how a poem 'means,' etc. . . . . Criticism . . . is an exercise in sanity, of which these essays are a splendid and useful example."-Poetry"A luminous and essential volume about the sensuality of language, its pleasures and sounds."-Ploughshares"It is in this merger of a poet's biography and a poem's body that Hall does his best work. . . . [Breakfast Served Any Time All Day] has an undeniably infectious quality to it. Finishing it, you cannot help but want to return to your bookshelf, and read-again or for the first time-the great forgotten poems of our past."-Nathan Greenwood Thompson, Rain Taxi

    What is a noun style? A verb style? A hypotactic or a paratactic one? How does the running style differ from the periodic style? What do "high, middle, and low" prose style mean? How might one apply the classical terminology of rhetorical figures to prose analysis? Analyzing Prose supplies detailed, carefully charted answers to these questions in order to teach the student of prose style how and where to begin.

    The roots of the blues can be found in the turn-of-the-century Mississippi Delta, but today its reach extends into all kinds of music including rock, jazz, country, soul, and more. The blues is everywhere, on CD reissues and box sets, in small clubs and concerts, in movies and on TV - indeed, the influence of the blues extends throughout popular culture. However, anyone who wants to really explore the blues can face a daunting task when visiting a music store these days. Most well-stocked shops have a decent selection of blues recordings. But there are dozens of Lightnin' Hopkins CDs available; which are the good ones? Which one do you buy first? This book will steer you straight to the best releases for every artist and compilation listed. You'll also see the occasional "buyer beware alert, " so that you don't get stuck with an inferior CD or tape. Designed for devoted blues lovers and newcomers alike, this book explores the blues from the Mississippi Delta to modern electric blues and everything in between. Special features include biographies of more than 560 blues artists and groups; reviews and ratings of the best recordings of each performer - more than 2,600 in all; historical essays and "music maps" charting the roots and evolution of the blues, its styles, instruments, key artists, and more; special section on exploring the blues influence in jazz; and blues resources, including book reviews, magazine listings, record companies, and mail-order sources.

     Introduces readers to the broad scope of feminist theory over the past 35 years. Guides students along the cutting edge of current feminist theory. Suitable for students and scholars of all fields touched by feminist thought. Covers an exceptionally broad range of disciplines, discourses and feminist positions. Organised around concepts rather than schools of feminism.

    Dalloway, and Stephen Dedalus have to say to one another?Sean Latham's appealingly written book Am I a Snob? traces the evolution of the figure of the snob through the works of William Makepeace Thackeray, Oscar Wilde, Virginia Woolf, James Joyce, and Dorothy Sayers. Each of these writers played a distinctive role in the transformation of the literary snob from a vulgar social climber into a master of taste. In the process, some novelists and their works became emblems of sophistication, treated as if they were somehow apart from or above the fiction of the popular marketplace, while others found a popular audience. Latham argues that both coterie writers like Joyce and popular novelists like Sayers struggled desperately to combat their own pretensions. By portraying snobs in their novels, they attempted to critique and even transform the cultural and economic institutions that they felt isolated them from the broad readership they desired.Latham regards the snobbery that emerged from and still clings to modernism not as an unfortunate by-product of aesthetic innovation, but as an ongoing problem of cultural production. Drawing on the tools and insights of literary sociology and cultural studies, he traces the nineteenth-century origins of the snob, then explores the ways in which modernist authors developed their own snobbery as a means of coming to critical consciousness regarding the connections among social, economic, and cultural capital. The result, Latham asserts, is a modernism directly engaged with the cultural marketplace yet deeply conflicted about the terms of its success.

    Jones, Gerald Fiderer, and R.E. Richardson.

     Guides students through four centuries of critical writing on Shakespeare’s tragedies. Covers both significant early views and recent critical interventions. Substantial editorial material links the articles and places them in context. Annotated suggestions for further reading allow students to investigate further.

    Presents essays that document the origins and influence of the Harlem Renaissance, focusing on key writing figures and artists and the many challenges they faced.

    Trask demonstrates how sexual science's concept of erotic perversion mediated the writing of both literary figures and social theorists when it came to the innovative and unsettling social arrangements of the early twentieth century. Trask focuses on the James brothers in a critique of pragmatism and anti-immigrant sentiment, shows the influence of behavioral psychology on Gertrude Stein's work, uncovers a sustained reflection on casual labor in Hart Crane's lyric poetry, and traces the identification of working-class Catholics with deviant passions in Willa Cather's fiction. Finally, Trask examines how literary leftists borrowed the antiprostitution rhetoric of Progressive-era reformers to protest the ascendance of consumerism in the 1920s.Viewing class as a restless and unstable category, Trask contends, American modernist writers appropriated sexology's concept of evasive, unmoored desire to account for the seismic shift in social relations during the Progressive era and beyond. Looking closely at the fraught ideological space between real and perceived class differences, Cruising Modernism discloses there a pervasive representation of sexuality as well.

    They begin by showing the value of performing any poem aloud, so that we can sense its unique use of rhythm. From this starting point they suggest an entirely fresh, jargon-free approach to reading poetry. Illustrating their 'beat/offbeat' method with a series of exercises, they help readers to appreciate the use of rhythm in poems of all periods and to understand the vital relationship between meter and meaning.Beginning with the very basics, Meter and Meaning enables a smooth progression to an advanced knowledge of poetic rhythms. It is the essential guide to meter for anyone who wants to study, write, better appreciate, or simply enjoy poetry. Carper and Attridge make studying meter a pleasure and reading poetry a revelation.

    Here Bonnie Costello reads six twentieth-century American poets who have reflected and shaped this transformation and in the process renovated landscape by drawing new images from the natural world and creating new forms for imagining the earth and our relation to it.

    For Bill Brown, the tale of that possession is something stranger than the history of a culture of consumption. It is the story of Americans using things to think about themselves.Brown's captivating new study explores the roots of modern America's fascination with things and the problem that objects posed for American literature at the turn of the century. This was an era when the invention, production, distribution, and consumption of things suddenly came to define a national culture. Brown shows how crucial novels of the time made things not a solution to problems, but problems in their own right. Writers such as Mark Twain, Frank Norris, Sarah Orne Jewett, and Henry James ask why and how we use objects to make meaning, to make or remake ourselves, to organize our anxieties and affections, to sublimate our fears, and to shape our wildest dreams. Offering a remarkably new way to think about materialism, A Sense of Things will be essential reading for anyone interested in American literature and culture.

    Gass captures the imagination and philosophical acumen of one of America's most important aestheticians, critical theorists, fiction writers, and essayists.From his first major novel, Omensetter's Luck (1966), to his numerous collections of essays and philosophical inquiries, to his controversial novel The Tunnel (1995), Gass (b. 1924) has proved himself a meticulous craftsman. Throughout these interviews, he reveals an aesthetic that combines ideas from sources as disparate as Ludwig Wittgenstein, Rainer Maria Rilke, Gertrude Stein, and Plato.The interviews make clear the unity behind Gass's views is by his own design. Conversations retrace his undergraduate years at Kenyon College and his subsequent philosophical investigation of metaphor at Cornell University.Gass has never strayed from his belief that metaphor is central and fundamental to thought and to aesthetics. In these interviews he reiterates time and again his belief that the ultimate understanding of the relationship of language to the world pivots on one's understanding of metaphor.In interviews, in profiles, and in his own essays, Gass does not hide from questions about his art and personal motivations, no matter how frequently they are asked, nor does he toy with his interviewers. Revealing how he never shies from an intellectual joust, this collection includes a rousing, contentious debate with John Gardner, fellow literary pundit and fiction writer.The distinction of Gass's prose is matched by the clarity and brilliance of the mind behind it. These talks allow an unobstructed view. Anyone interested in Gass's writing will delight in hearing the brutally honest voice of the mind that produced it.Conversations with William H. Gass captures the imagination and philosophical acumen of one of America's most important aestheticians, critical theorists, fiction writers, and essayists.From his first major novel, Omensetter's Luck (1966), to his numerous collections of essays and philosophical inquiries, to his controversial novel The Tunnel (1995), Gass (b. 1924) has proved himself a meticulous craftsman. Throughout these interviews, he reveals an aesthetic that combines ideas from sources as disparate as Ludwig Wittgenstein, Rainer Maria Rilke, Gertrude Stein, and Plato.The interviews make clear the unity behind Gass's views is by his own design. Conversations retrace his undergraduate years at Kenyon College and his subsequent philosophical investigation of metaphor at Cornell University.Gass has never strayed from his belief that metaphor is central and fundamental to thought and to aesthetics. In these interviews he reiterates time and again his belief that the ultimate understanding of the relationship of language to the world pivots on one's understanding of metaphor.In interviews, in profiles, and in his own essays, Gass does not hide from questions about his art and personal motivations, no matter how frequently they are asked, nor does he toy with his interviewers. Revealing how he never shies from an intellectual joust, this collection includes a rousing, contentious debate with John Gardner, fellow literary pundit and fiction writer.The distinction of Gass's prose is matched by the clarity and brilliance of the mind behind it. These talks allow an unobstructed view. Anyone interested in Gass's writing will delight in hearing the brutally honest voice of the mind that produced it.

    In 1939, Virginia Woolf wrote in her diary, Civilisation has shrunk. Her words captured not only the onset of World War II, but also a longer-term reversal of national fortune. The first comprehensive account of modernism and imperialism in England, A Shrinking Island tracks the joint eclipse of modernist aesthetics and British power from the literary experiments of the 1930s through the rise of cultural studies in the 1950s.Jed Esty explores the effects of declining empire on modernist form--and on the very meaning of Englishness. He ranges from canonical figures (T. S. Eliot and Virginia Woolf) to influential midcentury intellectuals (J. M. Keynes and J.R.R. Tolkien), from cultural studies pioneers (Raymond Williams and E. P. Thompson) to postwar migrant writers (George Lamming and Doris Lessing). Focusing on writing that converts the potential energy of the contracting British state into the language of insular integrity, he argues that an anthropological ethos of cultural holism came home to roost in late-imperial England. Esty's interpretation challenges popular myths about the death of English literature. It portrays the survivors of the modernist generation not as aesthetic dinosaurs, but as participants in the transition from empire to welfare state, from metropolitan art to national culture. Mixing literary criticism with postcolonial theory, his account of London modernism's end-stages and after-lives provides a fresh take on major works while redrawing the lines between modernism and postmodernism.

    Here Be Dragons is a lavishly illustrated compendium of the marvelous menagerie of imaginary animals that humans have conjured up over the ages. Ariane and Christian Delacampagne take us on a visually and intellectually riveting journey through five thousand years of art, examining the symbolic meanings of such creatures and what they say about the unconscious life of the human mind.In the Middle Ages, bestiary referred to an edifying poem, in Latin or French verse, in which the moral characteristics of real or imaginary animals were highlighted. With the passing of time, this once-flourishing genre disappeared. We have ceased to equate animals that can be observed with those we only dream of, but neither science nor mass culture has managed to chase away imaginary beasts. Such creatures continue to haunt us, just as they haunted our ancestors.In the first book to explore this subject with such cross-cultural and chronological range, the Delacampagnes identify five basic structures (unicorn, human-headed animal, animal-headed human, winged quadruped, and dragon) whose stories they relate from prehistory to the present day. They also provide fascinating sociological and psychoanalytical insight into the processes through which artists have created these astonishing animals and how they have been transmitted from culture to culture.Contrary to what people once believed, the fantastic exists only in the mind. And yet, as Here Be Dragons shows us, it is one of the mind's most sophisticated, mysterious, and inspiring creations.

    At the same time it provides an original and illuminating intellectual history of the Left from the 1960s to the present. It examines the politics of the New Left in the 1960s, showing how its expressivism led to political division and also prepared the ground for postmodernism. It shows also how the political economy of academic life in an increasingly commodified society strengthened the basis of postmodernism. The Postmodern Prince provides a historically grounded critique of postmodernism, and a history of how the socialist Left has helped to create its ideas. In the course of this two-sided critique, it develops a brilliant account of a Marxism that sets itself the task of building a collective political subject--a successor to Machiavelli's Prince and Gramsci's Modern Prince--capable of challenging capitalism in its moment of global crisis. Sanbonmatsu demonstrates the limitations of the work of Foucault, and more recently, Hardt and Negri's much-acclaimed Empire. In the process he validates for Marxism the classical idea of politics as hegemonic in scope, revolutionary in aspiration, and dependent on the capacity of leadership to rise to unforeseen challenges. He draws on an extraordinary range of historical, political, and philosophical analyses to set out the preconditions for a renewal of strategic and theoretical vision for the Left.

    Its length and difficulty mean that readers often turn to critical studies to help them in getting the most out of it. But the vast quantity of secondary literature on the book poses problems for readers, who often don't know where to begin. This casebook includes some of the most influential critics to have written on Joyce, such as Hugh Kenner and Fritz Senn, as well as newer voices who have made a considerable impact in recent years. A wide range of critical schools is represented, from textual analysis to historical and psychoanalytic approaches, from feminism to post-colonialism. One essay considers the relation between art and life, nature and culture, in Ulysses, while another explores the implications of the impassioned debates about the proper editing of Joyce's great work. In an iconoclastic discussion of the book, Leo Bersani finds reasons for giving up reading Joyce. All the contributions are characterized by scrupulous attention to Joyce's words and a sense of the powerful challenge his work offers to our ways of thinking about ourselves, our world, and our language. Also included are records of some of the conversations Joyce had with his friend Frank Budgen during the composition of Ulysses in Zurich, and in an appendix readers will find a version of the schema which Joyce drew up as a guide to his book. Derek Attridge provides an introduction that offers advice on reading Ulysses for the first time, an account of the remarkable story of its composition, and an outline of the history of the critical reception that has played such an important part in our understanding and enjoyment of this extraordinary work.

    Contrary to a long-standing consensus, Shakespeare does not seem to have been opposed, or indifferent, to the publication of his plays, and he pursued a policy of trying to get them published. Accordingly, Shakespeare's long play texts survive in a literary format that would have required shortening before they reached the stage.

    A central aim of Charles Altieri's is to rescue our understanding of the affects from philosophical theories that subordinate them to cognitive control and ethical judgment.Altieri concentrates on two fundamental aspects of aesthetic experience: the first describes how representative texts and paintings compose intricate affective states; the second engages how we might generalize from the values involved in the affects made articulate by works of art. He addresses a range of affective states, distinguishing carefully among sensations, feelings, moods, emotions, and passions. He shows how art solicits, organizes, and reflects upon affective energies and how many of the qualities of the affects developed within artworks simply disappear when observers are content with adjectival labels such as sad, angry, or happy.The Particulars of Rapture proposes treating affects in adverbial rather than in adjectival terms, emphasizing the way in which text and paintings shape distinct affective states. Such an emphasis places the manner in which artwork acts upon the emotions central to the quality of the resulting affect. And that emphasis in turn enables Altieri to show how a more general expressivist model for establishing and assessing values can compete with perspectives based on rationality.

    E. B. DuBois. Crouch--an internationally recognized jazz critic, syndicated columnist, and author--and Benjamin appraise the contributions of DuBois's work, noting its uncanny relevance to today's society and its profound impact on the field of African-American studies. Reconsidering the Souls of Black Folk is a fitting tribute to a literary and sociological triumph.

    Poet and novelist, essayist and screenwriter, contemporary author Paul Auster's prolific oeuvre includes the critically acclaimed screenplay for "Smoke as well as the novel "Timbuktu.