She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    In this book, Louis Sass, a clinical psychologist, offers a new vision of schizophrenia, comparing it with the works of such artists and writers as Kafka, Beckett, and Duchamp and philosophers including Nietzsche, Heidegger, Foucault and Derrida. It provides a portrait of the world of the madman, along with a commentary on modernist and postmodernist culture.

    Artifice of Absorption, a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. Poetics is the continuation of poetry by other means, he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form--a poetic language that resists being easily absorbed into the conventions of our culture.Insisting on the vital need for radical innovation, Bernstein traces the traditions of modern poetry back to Stein and Wilde, taking issue with those critics who see in the postmodern a loss of political and aesthetic relevance. Sometimes playful, often hortatory, always intense, he joins in the debate on cultural diversity and the definition of modernism. We encounter Swinburne and Morris as surprising precursors, along with considerations of Wittgenstein, Khlebnikov, Adorno, Jameson, and Pac-Man. A Poetics is both criticism and poetry, both tract and song, with no dull moments.

    Buechner is the author of many works of fiction and nonfiction, including Godric (nominated for a Pulitzer Prize) and Telling Secrets.

    In this volume, Professor Leakey provides a comprehensive guide to the understanding and appreciation of Les Fleurs du Mal, offering new insights into its composition, themes and style, setting it in its historical context, and devoting a whole chapter to Baudelaire's crowning achievement, Le Cygne.

    While still a student, Donald Hall came to know Robert Frost, Dylan Thomas, and T. S. Eliot. He interviewed Eliot, Ezra Pound, and Marianne Moore for The Paris Review, and his portraits, anecdotes, descriptions, criticisms, and literary gossip, drawn from life

    The study of travel writing has, however, tended to remain either naively celebratory, or dismissive, treating texts as symptoms of imperial ideologies.Imperial Eyes explores European travel and exploration writing, in conjunction with European economic and political expansion since 1700. It is both a study in the genre and a critique of an ideology. Pratt examines how travel books by Europeans create the domestic subject of European imperialism, and how they engage metropolitan reading publics with expansionist enterprises whose material benefits accrued mainly to the very few. These questions are addressed through readings of travel accounts connected with particular sentimental historical travel writing. It examines the links with abolitionist rhetoric; discursive reinventions of South America during the period of its independence (1800-1840); and 18th-century European writings on Southern Africa in the context of inland expansion.

    Literary studies of Woolf's life have been written almost exclusively from a psychoanalytic perspective. They portray Woolf as a victim of the Freudian "family romance," reducing her art to a neurotic evasion of a traumatic childhood.But current knowledge about manic-depressive illness—its genetic transmission, its biochemistry, and its effect on brain function—reveals a new relationship between Woolf's art and her illness. Caramagno demonstrates how Woolf used her illness intelligently and creatively in her theories of fiction, of mental functioning, and of self structure. Her novels dramatize her struggle to imagine and master psychic fragmentation. They helped her restore form and value to her own sense of self and lead her readers to an enriched appreciation of the complexity of human consciousness.

    Also included are Adorno's reflections on a variety of subjects: literary titles, the physical qualities of books, political commitment in literature, the light-hearted and the serious in art, and the use of foreign words in writing, to name a few.

    But what about those Scripture passages that don't use the word grace, yet are vital to understanding it? Reach for the Silver Medallion Award-winning Zondervan NIV Nave's Topical Bible. It broadens your scope beyond word searches to topical studies. Now you're ready to deal not just with key words, but with concepts. The Zondervan NIV Nave's Topical Bible improves on the original King James Version-based Nave's Topical Bible by adding more than 500 headings, 2,000 subtopics, and 1,300 cross-references. You'll find entries addressing contemporary issues such as abuse, ecology, homosexuality, and abortion -- all either directly including or else referencing the best-selling New International Version text, and easily usable with other translations as well. Goodrick/Kohlenberger numbering lets you also consult the Zondervan NIV Exhaustive Concordance to broaden your studies of specific Hebrew and Greek words. So when you're ready to dig deeper into the Scriptures, it's time to add this book to your core reference library. Its thoroughness will bring new dimensions to your Bible studies and help you gain sound scriptural perspectives on faith and practical living. This series is for the discriminating individual who wants only the best Bible study resources available in terms of both thoroughness of information and excellence in design. From bleached, high-grade paper to sturdy binding, the Premier Reference Series combines upper-end materials and sophisticated appeal with the finest in evangelical scholarship. The 6-volume Premier Reference Series includes: Zondervan NIV Exhaustive Concordance — The only concordance ever to win a Gold Medallion, this world-class volume gives complete access to every word of the NIV text as well as to the Hebrew, Aramaic, and Greek from which the NIV was translated. Includes Goodrick-Kohlenberger numbering system. The Zondervan NIV Bible Commentary (2 volumes) — This abridgment of the award-winning, 12-volume Expositor’s Bible Commentary is perfect for those who aren’t satisfied with the limitations of one-volume commentaries, but who don’t require a large, expensive set. Zondervan NIV Matthew Henry Commentary — Adapted to the NIV, meticulously condensed to retain the essential content of the original work, and carefully updated to afford clarity, this important volume faithfully preserves Matthew Henry’s style and wisdom for today’s reader. Zondervan NIV Nave’s Topical Bible — The most extensive revision and expansion of the Nave’s Topical Bible ever made, this book offers quick and easy access to more than 7,000 topics, using the NIV text and Goodrick-Kohlenberger numbering. Zondervan NIV Atlas of the Bible — This Gold Medallion Award-winning volume is the most comprehensive Bible atlas available. It features a geographical section, a historical section, a section on Jerusalem, a section of the disciplines of historical geography, and an in-depth gazetteer.

    There are over seven hundred letters in this impressive collection, dating from Larkin's late teens until close to his death at the age of sixty-three in 1985. Early letters to school friends, including the writer Kingsley Amis, form a portrait of the young artist, full of jazz, literature, and obscenities. Later correspondents include the novelist Barbara Pym (whose fictional portraits of genteel English country life Larkin so admired), Robert Conquest, Andrew Motion, and Julian Barnes.In his Introduction, Anthony Thwaite writes: "What is remarkable, for all the masks he put on, is how consistently Larkin emerges, whoever he is writing to . . . [The letters] are an informal record of the lonely, gregarious . . . intolerant, compassionate, eloquent, foul-mouthed, harsh and humorous Philip Larkin, who was not only one of the finest poets of our time but also a compulsive and entertaining letter-writer."

    Ted Hughes sees Shakespeare's early poems Venus and Adonis and The Rape of Lucrece as embodying two great myths of the archaic world, that of the hero who rejects the love of the Goddess and is killed in revenge by a boar; and that of the king, or god, whose crime is rape and whose punishment is banishment. These two complexes merge as Shakespeare's work develops into what Hughes calls the Tragic Equation, a flexible formula through which the poet was able to tap into the innate power of these myths to enliven his own imagination - and through him the imagination of Elizabethan England, in which the conflicts between Catholicism and Protestantism in the "living myth" of the English Reformation never lay far from the bloody surface of events. With his characteristic mixture of erudition and immediacy, Ted Hughes traces this idea in a close reading of Shakespeare's entire work. This text originally grew out of correspondence with dramatists, and anyone for whom intimate attention to the plays is important - scholar, student, actor, or common reader - will profit greatly from Hughes's loving, intensive, engrossing, and radical analysis of the greatest writing in the language.

    The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me," culture uses art to dream the deaths of beautiful women.

    Roberto Schwarz’s writings have had a profound effect throughout Latin America. This is the first volume of those writings to appear in English. Taking its title from what has probably been Schwarz’s most influential essay, Misplaced Ideas first examines the slave-owning Brazil of the nineteenth century, to show the persistent gap between liberal ideology based on the free market, and the reality of forced labour. The essays which follow range across the nineteenth and twentieth centuries, and across film and fiction, theatre and music. They include four pieces on the great novelist Machado de Assis, and a powerful essay on the sometimes bizarre ways Brazilian culture reacted to the imposition of military rule. Throughout, Schwarz continually demonstrates the wit and sharpness which make his writings both a challenge and a pleasure to read.

    Slatkin reveals the full importance of mythic allusion in Homeric composition and in the experience of Homer's audience.

    Peter Quartermain suggests that the explosion of noncanonical modern writing is linked to the severe political, social, and economic dislocation of non-English-speaking immigrants who, bringing alternative culture with them as they passed through Ellis Island in their hundreds of thousands at the turn of the century, found themselves uprooted from their tradition and disassociated from their culture. The line of American poetry that runs from Gertrude Stein through Louis Zukofsky and the Objectivists to the Language Writers, Quartermain contends, is not the constructive but deconstructive aspect that emphasized the materiality and ambiguity of the linguistic medium and the arbitrariness and openess of the creative process.

    Lewis's ""Ransom Trilogy"" which analyses Lewis's methods and meanings, concentrating on this trilogy but also including relevant secondary work. Lewis's literary scholarship and display of Christian values are incorporated into this discussion.

    In spanning his richly productive career, they convey a sense of his continuity and of his growth as a novelist.Roth has said that one of his goals is to reconcile "experience that I am strongly attached to be temperament and training--the aggressive, the crude, and the obscene, at one extreme, and something a good deal more subtle and, in every sense, refined, at the other."These conversations reveal a savvy, thoughtful man who shows great intelligence, confidence, and wit, as well as an admirable sense of humility and tact.

    Lefevere explores how the process of rewriting works of literature manipulates them to ideological and artistic ends, so that the rewritten text can be given a new, sometimes subversive, historical or literary status.

    Years before Mickey Mouse, the young entrepreneur recruited and nurtured an extraordinary array of talented people. Drawing on interviews with Disney's coworkers, Disney's business papers, promotional materials, scripts, drawings, and correspondence, the richly illustrated Walt in Wonderland reconstructs Disney's silent film career and places his early films in critical perspective.

    Believing that the best way to understand usage is to study it historically, Parkes focuses on how marks have actually been used. He cites examples from a wide range of literary texts from different periods and languages; the examples and plates also provide the reader with an opportunity to test Parkes's observations.This long-awaited book will no doubt stimulate debate among writers, editors, literary critics, philosophers, linguists, rhetoricians, and historians. It is destined to become a standard reference work for anyone interested in the history and use of language.

    Randall Stevenson's important new analysis of the genre presents a lucid, comprehensive introduction to modernist fiction, covering a wide range of writers and works.Drawing on narrative theory and cultural history, Stevenson offers fresh insights into the work of such important modernists as Henry James, Joseph Conrad, Ford Madox Ford, D.H. Lawrence, Wyndham Lewis, Dorothy Richardson, May Sinclair, Virginia Woolf, and James Joyce. In addition he discusses the work of Marcel Proust, an important figure in the development of modernism in Europe.This illuminating book places the new imagination of the modernist age in its historical context and looks at how and why the pressures of early twentieth century life led to the development of this distinctive and influential literary form. This accessible account of modernism, modernity, and the novel will be welcomed by students, scholars, and general readers alike.

    It interrogates the Anglocentricity of the subject of "English Literature," demonstrating how it has governed our reading of un-English and "provincial" texts. Discussing English, American, Irish, Australian, and other writings, Crawford concentrates on Scottish literature, which furnishes the most extended and acute model of a culture concerned with maintaining and developing its own identity while engaging with England's linguistic and political dominance.Starting with the eighteenth-century "Scottish invention of English Literature," Crawford traces the evolution of a distinctively British Literature. This process culminated in Scott who, with Carlyle, encouraged nineteenth-century American writing and left rich legacies both to anthropology and the literary Modernism of Eliot, Pound, and others. This essentially provincial phenomenon of Modernism underwrites even Larkin, as well as such sophisticated post-British "barbarian" poets as Heaney, Harrison, Dunn, Murray, and Walcott.Devolving English Literature makes a major contribution to the current debates regarding English-speaking literary culture and the participation in it of non-English writers, arguing for devolutionary readings, alert to nuances of cultural difference.

    His perspective on Eastern Europe in the twentieth century is that of a political dissident, a human rights campaigner, a writer, and a critic. His political writings explore and clarify what it means to belong to a nation, while his analysis of the work of major Russian and Polish writers produces a definite view of what it means to be a poet. Included here are essays published in the New York Review of Books and The New Republic, such as ones on subjects from South Africa to Ivan the Terrible, as well as a famous dialogue between the author and the Polish poet Czeslaw Milosz. Venclova currently teaches Russian and Polish literature at Yale University.

    In a tragic time her fate was perhaps the most tragic of all. Born in 1892, the daughter of a gifted pianist and the founder of what is today the Pushkin Museum, Tsvetaeva had an intense, cloistered and romantic childhood. Her early teenage years were spent largely in Italy, Switzerland and Germany, as the family travelled Europe in search of a cure for her mother's tuberculosis. In 1910 she published her first collection of poetry, which was immediately recognized in literary circles as the work of a true poet, and the following year in the Crimea she met Sergey Efron, the man around whom her life would revolve to the end. Although Tsvetaeva married him, had three children by him and dedicated her life to him, she had passionate affairs with many lovers, the poets Osip Mandelstam and Sofia Parnok foremost amongst them. In 1917 Sergey joined the White Army and Marina did not see him again for five years. She and her elder daughter, Alya, barely survived the Revolution (her younger daughter died) and, in 1922, they joined Efron in emigration in Prague. There, and later in Paris, she wrote and published many of her greatest works, and kept up an intense correspondence with Rilke and Pasternak. However, by 1939, hardly known in her own country, estranged from her husband and virtually ostracized by the emigre community, she was nevertheless persuaded by Sergey, who had by then been exposed as a Soviet agent, to return to Moscow. Efron and Alya were arrested, and as the German Army pushed ever deeper into Russia, Tsvetaeva and her son were evacuated to Elabuga on the KamaRiver. There, on 31 August 1941, Tsvetaeva took her own life. Viktoria Schweitzer, who is recognized as being pre-eminent amongst Tsvetaeva specialists, spent twenty years researching her subject and was able to interview many of the people who knew Tsvetaeva personally, including her daughter and her sister. This is the first full-length story of the life and work of this supreme lyric poet and prose stylist to be based on such detailed research.

    But how much should a biographer tell? How much should an executor suppress? Does the public's right to know override an individual's right to privacy? To answer these questions, Ian Hamilton presents a probing and far-reaching account of literary estate management and mismanagement through the centuries from Donne and Shakespeare to Plath and Larkin. In a gripping series of case studies, he recounts the battles between the protective and the curious, between the keepers of the sacred flame and those who might seek to snuff it out. Hamilton offers a violent, lurid and hugely entertaining history of broken promises and mismanaged wills, of reputations whitewashed or maligned, of scholars and crooks, of muddle, trickery, scandal and vendetta. He includes the burning of Byron's memoir, the deification of Shelley and Henry James' attempt to "fix" his own posthumous reputation as well as the more recent controversies surrounding the Plath and Larkin estates. Throughout, Hamilton presents an array of well-meaning acolytes - admirers, best friends, widows - whose task it was to keep the flame sacred. Offering a compelling contribution to current debate on the moral issues of biography, Hamilton writes of the "greats" of English literature with an intimacy and a subversive wit that make this book a joy to read.

    In his introduction, Louis Owens places the novels in context by considering their relationships to traditional American Indian oral literature as well as their differences from mainstream Euroamerican literature. In the following chapters he looks at the novels of John Rollin Ridge, Mourning Dove, John Joseph Mathews, D’Arcy McNickle, N. Scott Momaday, James Welch, Leslie Marmon Silko, Louise Erdrich, Michael Dorris, and Gerald Vizenor.

    Romanticism and Contemporary Criticism represents de Man's reflections on some of the major texts of English, German, and French Romanticism and their reception in twentieth-century literary criticism and theory. The Gauss Seminar lectures in particular convey de Man's consideration of Romanticism as a distinct form of historical consciousness, and illuminate his conviction that this romantic historical consciousness had been a powerful influence on our own development of a historical identity. De Man had planned to use the Gauss lectures as a basis for a major historical study of Romanticism, but the volume was never completed and de Man eventually abandoned the project.Drawn from four decades of de Man's career, these essays reflect the transition in the critic's work from the thematics and vocabulary of "consciousness" and "temporality" characteristic of his work in the 1960s, to the language-oriented concerns and terminology of his later writings.

    Unique in content, this anthology of 113 short stories encompasses a larger geographical range (both Western and non-western) and greater gender balance than is typical of most short-story anthologies, and includes a diverse representation of ethnic voices from within the United States as well as less-frequently-anthologized stories by well-known writers. It includes both classic and contemporary stories that reflect thematic, aesthetic, and cultural variety: diversity of styles, subjects and points of view as well as diversity of cultural, historical, and gender perspectives. Headnotes and questions for each story provide contextual enhancement and guidelines for critical thinking and reflection.

    Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Ubermensch. Young then divides Nietzsche's career, and his philosophy of art, into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it redeems us from life.

    Seventeen seminal texts by legendary European authors, covering the whole of that delirious period from Gothic and Romantic, through Symbolism and Decadence to proto-Surrealism and beyond, in a single volume charged with sex, blood and horror.

    Represented as individual points of view or touched upon in the analysis are the theories of Lacan and Foucault and the tenets of Marxism; the approaches of Feminism, Reader Response Criticism, Deconstructionism, Chaos and Anti-Chaos Theory, Translation Theory, Formalism, Mythology, Perception Theory, and Gender Theory; and the perceptions of Popular Culture, Film History and Theory, Southern Letters, and assorted cultural and regional studies. The volume introduction charts the course of Streetcar criticism from its inception to the present.Each essay begins by articulating the theoretical principles and methods behind the critical approach pursued, then applies these to readings from Streetcar, utilizing and documenting relevant major research. Insightful and challenging, the readings, individually and collectively, advance the study of the play and Tennessee Williams's canon and reputation generally. Each essay offers a fresh, provocative view of a play that has long been discussed in simplistic and dichotomized terms: Blanche as victim/Stanley as predator; Streetcar as a play about a failed southern belle meeting a brutish Pole; or Streetcar as a work of Southern literature. Viewing the play through the lenses of cultural and critical pluralism, the contributors open up the script and expand our awareness of the problems and possibilities offered by this great modern classic.

    

    Victor Terras argues eloquently that Russian literature has reflected, defined, and shaped the nation’s beliefs and goals, and he sets his survey against a background of social and political developments and religious and philosophic thought. Terras traces a rich literary heritage that encompasses Russian folklore of the eleventh, twelfth, and thirteenth centuries, medieval literature that in style and substance drew on the Byzantine tradition, and literature of the seventeenth and eighteenth centuries, when Russia passed through a succession of literary schools—neoclassicism, sentimentalism, romanticism, and realism—imported from the West. Terras then moves on to the masterful realist fiction of Turgenev, Dostoevsky, and Tolstoi during the second half of the nineteenth century, showing how it was a catalyst for the social and cultural advances following the reforms of Alexander II. In discussing the period preceding the revolution of 1917, Terras links the literary movements with parallel developments in the theater, music, and the visual arts, explaining that these all placed Russia in the forefront of European modernism. Terras divides Russian literature after the revolution into émigré and Soviet writing, and he demonstrates how the latter acted as a propaganda tool of the Communist party. He concludes his survey with the dissident movement that followed Stalin’s death, arguing that the movement again made literature a leader in the struggle for freedom of thought, genuine relevance, and communion with Western culture.

    Weaving biography, history, and literary criticism together, Cocker explores the lives and works of a dozen major explorer/writers and paints fascinating portraits of the places that have obsessed them. Photographs.

    Well, my life has never been important to anyone. I haven't got any guilt about anything, bragged the mass-murderer Charles Manson. These children that come at you with knives, they are your children. You taught them. I didn't teach them. . . . They are running in the streets--and they are coming right at you! When a real murderer accuses the society he has brutalized, we are shocked, but we are thrilled by the same accusations when they are mouthed by a fictional rebel, outlaw, or monster. In Bitter Carnival, Michael Andr Bernstein explores this contradiction and defines a new figure: the Abject Hero. Standing at the junction of contestation and conformity, the Abject Hero occupies the logically impossible space created by the intersection of the satanic and the servile. Bernstein shows that we heroicize the Abject Hero because he represents a convention that has become a staple of our common mythology, as seductive in mass culture as it is in high art. Moving from an examination of classical Latin satire; through radically new analyses of Diderot, Dostoevsky, and Cline; and culminating in the courtroom testimony of Charles Manson, Bitter Carnival offers a revisionist rereading of the entire tradition of the Saturnalian dialogue between masters and slaves, monarchs and fools, philosophers and madmen, citizens and malcontents. It contests the supposedly regenerative power of the carnivalesque and challenges the pieties of utopian radicalism fashionable in contemporary academic thinking. The clarity of its argument and literary style compel us to confront a powerful dilemma that engages some of the most central issues in literary studies, ethics, cultural history, and critical theory today.

    What is at stake in the production of experimental texts by lesbian writers? what motivates these writers and characterizes their work? In this work, Elizabeth Meese examines the ways in which the experiences of the text, and the experiences of character, diverge and converge wit the writer's own biography.

    This volume focuses on twentieth-century New Orleans, beginning with modernism's brief blooming in the 1920s, followed by the fading of New Orleans' peculiarly dreamy romanticism and the flourishing of a distinctive realism, and concluding with a recurrence and transformation of the earlier romantic strain in contemporary Gothic and mystery fiction.

    The reader is encouraged to write poetry, fiction and drama "on your own" and the text includes methods for submission of material for publication and resources for writers. For professional and aspiring writers of poetry, fiction, and drama.

    Adds new dimensions to our understanding of John Dryden and his times.

    MooreIn this book Stephen D. Moore offers a dazzling new reading of the Gospels of Mark and Luke, applying the poststructuralist techniques of Derrida, Lacan, and Foucault to illuminate these texts in a way that no one has done before. Written with wit and a sensitivity to words--and wordplay--that is reminiscent of Moore's fellow countryman James Joyce, the book is also deeply learned, impressive in its detailed knowledge of previous scholarship as well as in the challenges it presents to that scholarship.Moore argues that whereas the language of the Gospels is concrete, pictorial, and often startling, the language of modern gospel scholarship tends to be propositional and abstract. Calling himself a New Test-what-is-meant scholar, he approaches the Gospels of Mark and Luke as though they were pictograms or dreamwork to decipher and interpret, writing a response that is no less visceral and immediate than the biblical texts themselves.

    Written by two well-known scholars in the field of literary study, this well-respected text puts an emphasis on the individual contributors to the development of literary criticism, from Plato and Aristotle to the present.

    Translations of Gothic tales, modern poetry, scientific treatises, postmodern narratives from French, Italian, German, Latin and other literatures reveal the power of translators to shape literary canons and national identities.

    Christopher Bigsby takes a fresh look at the major figures who have shaped postwar American drama, exploring the works of Eugene O'Neill, Tennessee Williams, Arthur Miller, Edward Albee, David Mamet, and Sam Shepard. Bigsby also looks at Broadway and at the theatre which geared itself to the experiences of race and gender, examining the works of Lorraine Hansberry, August Wilson, and Marsha Norman, among others.

    Now, in The Critics Bear It Away, he turns his attention to the way key American novelists - from Hawthorne, Melville, Stowe, and Twain to Hemingway, Faulkner, O'Connor, and Updike - are being apprehended, and misapprehended, by the academic avant-garde. As Crews shows, recent theoretical discourse takes a justifiably hard line toward the liberal humanism and formalism that dominated the discussion of American classics for many years following World War II. As academics have become more distrustful of the social attitudes that produced a largely white-male, New England-based canon, they have developed a dramatically altered account of standard authors - sometimes indicting them for ideological deficiencies, sometimes attempting to render their texts more congenial through "decentered" techniques of analysis. With relentless logic and a keen eye for the telling detail, Crews shows what is gained and, more often, what is sacrificed by such well-intentioned maneuvers. Are we really better off, he asks, with a Mark Twain who has been stripped of his idiosyncratic wit and reduced to the level of contemporaries whose prejudices he may have shared? Conversely, should we rejoice when methodological sleight-of-hand makes Faulkner's blatant sexism and Flannery O'Connor's Catholic pietism disappear? This is not to say, however, that Crews exercises his skepticism only on proposals from academic trendsetters. The Critics Bear It Away is just as unsparing toward traditionalists who want the cultural clock to be forever stopped at 1945. Crews's purpose is not to support a faction but to expose critical illusions. "And the particular illusions I will be examining," he announces, "originate in conservative as well as radical impulses - in, for example, New Critical formalism, orthodox intentionalism, Christ

    

    Children's literature, Maria Tatar maintains, has always been more intent on producing docile minds than playful bodies. From its inception, it has openly endorsed a productive discipline that condemns idleness and disobedience along with most forms of social resistance. In this book she explores how Perrault, the Grimms, and others reshaped fairy tales to produce conciliatory literary texts that dedicate themselves to the project of socializing the child.

    It offers complete texts whenever possible, uses the best translations of foreign-language material, and, when appropriate, presents more than one text by each author. Volume Two provides detailed historical and biographical notes and introductions to the later literary periods including Neoclassicism and Romanticism; Realism and Naturalism; and Modern and Contemporary. Individuals interested in a comprehensive look at Western literature through the ages.

    They seduce, challenge, trap, transform, and even kill us; they speak and remain silent. Kenneth Gross's The Dream of the Moving Statue offers a far-ranging and probing exploration of how writers, artists, and filmmakers have imagined the power and life of statues, real and metaphoric, taking up examples from antiquity to modernity, from Ovid, Michelangelo, and Shakespeare to Freud, Rilke, and Charlie Chaplin. The book is about the fate of works of art and about the fate of our fantasies, words, and bodies, about the metamorphoses they undergo in our own and others' minds.

    In these twenty-one essays, philosophers and classicists explore the corpus of Aristotle's work in order to link the Poetics to the rest of his views on psychology and on history, ethics, and politics. The essays address such topics as catharsis, pity and fear, pleasure, character and the unity of action, and the modality of dramatic action. In addition to the editor, the contributors are Elizabeth Belfiore, Rdiger Bittner, Mary Whitlock Blundell, Wayne Booth, Dorothea Frede, Cynthia Freeland, Leon Golden, Stephen Halliwell, Richard Janko, Aryeh Kosman, Jonathan Lear, Alexander Nehamas, Martha C. Nussbaum, Deborah Roberts, G.E.M. de Ste. Croix, Nancy Sherman, Jean-Pierre Vernant, Stephen A. White, and Paul Woodruff.

    Pound had been fascinated with the poetry of medieval Provence since his college days. His experiments with the complex lyric forms of Arnaut Daniel, Bertran de Born, and others were included in his earliest books of poems; his scholarly pursuits in the field found their way into The Spirit of Romance (1910); and the troubadour mystique was to become a resonant motif of the Cantos. In the course of transcribing and emending the text of "Walking Tour 1912," editor Richard Sieburth retraced Pound's footsteps along the roads to the troubadour castles. "What this peripatetic editing process...revealed," he writes, "was a remarkably readable account of a journey in search of the vanished voices of Provence that at the same time chronicled Pound's gradual discovery of himself as a modernist poet...."

    But why Shakespeare? and what different interests did this process serve? The Making of the National Poet is the first full-length study since the 1920s of the Restoration and eighteenth century's revisions and revaluations of Shakespeare, and the first to consider the period's much-reviledstage adaptations in the context of the profound cultural changes in which they participate. Drawing on a wide range of evidence--including engravings, promptbooks, diaries, statuary, and previously unpublished poems (among them traces of the hitherto mysterious Shakespeare Ladies' Club), itexamines how and why Shakespeare was retrospectively claimed as both a respectable Enlightenment author and a crucial and contested symbol of British national identity. It shows in particular how the deification of Shakespeare co-existed with and even demanded the drastic and sometimes bizarrerewriting of his plays for which the period is notorious. Through engaging and informative analysis, Dobson's book provides the definitive account of the theatre's role in establishing Shakespeare as Britain's National Poet.

    and examines how these playwrights portrayed, manipulated, and otherwise represented popular religion in their plays. He discusses the central role of honor in ancient Athenian piety and shows that the values of popular piety are not only reflected but also reaffirmed in tragedies.Mikalson begins by examining what tragic characters and choruses have to say about the nature of the gods and their intervention in human affairs. Then, by tracing the fortunes of diverse characters -- among them Creon and Antigone, Ajax and Odysseus, Hippolytus, Pentheus, and even Athens and Troy -- he shows that in tragedy those who violate or challenge contemporary popular religious beliefs suffer, while those who support these beliefs are rewarded.The beliefs considered in Mikalson's analysis include Athenians' views on matters regarding asylum, the roles of guests and hosts, oaths, the various forms of divination, health and healing, sacrifice, pollution, the religious responsibilities of parents, children, and citizens, homicide, the dead, and the afterlife. After summarizing the vairous forms of piety and impiety related to these beliefs found in the tragedies, Mikalson isolates "honoring the gods" as the fundamental concept of Greek piety. He concludes by describing the different relationships of the three tragedians to the religion of their time and their audience, arguing that the tragedies of Euripides most consistently support the values of popular religion.

    De/Colonizing the Subject probes the political assumptions of traditional autobiographical writing in the West and examines the historical roots and emancipatory potential of alternative, or 'outlaw, ' autobiographical practices.

    Since his Shakespeare Our Contemporary appeared in English in 1964, Kott's work has altered—and strengthened—the way critics and the public approach the theater as a whole. The Memory of the Body highlights a number of dramatic personalities and personages: authors and directors Witkiewicz, Brecht, Kantor, Grotoswki, Ingmar Bergman, Wedekind; Tilly Newes on the stage in turn-of-the-century Vienna; the all-too-mortal, two-thirds divine Gilgamesh; and a shaman in rural Korea. In a style flecked with passion, poignancy, and wit, Kott moves beyond a mere discussion of theater to speak of eroticism, painting, love, and death.

    In provocative new readings of Shakespeare, Herbert, and Milton, Flesch illuminates the personal authority that is bound inextricably with acts of generosity.Drawing on the work of such theorists as Mauss, Blanchot, Bourdieu, Wittgenstein, Bloom, Cavell, and Greenblatt, Flesch maintains that the literary power of Shakespeare, Herbert, and Milton is at its most intense when they are exploring the limits of generosity. He considers how in Herbert's Temple divine assurance of the possibility of redemption is put into question and how the poet approaches such a gift with the ambivalence of a beneficiary. In his readings of Shakespeare's Richard II, Henry IV, King Lear, Antony and Cleopatra, and the sonnets, Flesch examines the perspective of the benefactor--including Shakespeare himself--who confronts the decline of his capacity to give. Turning to Milton's Paradise Lost, Flesch identifies two opposing ways of understanding generosity--Satan's, on the one hand, and Adam and Eve's, on the other - and elaborates the different conceptions of poetry to which these understandings give rise.Scholars of Shakespeare and of Renaissance culture, Miltonists, literary theorists, and others interested in the relationship between philosophy and literature will want to read this insightful and challenging book.

    Benito Perez Galdos has been described as 'the greatest Spanish novelist since Cervantes.' His work constitutes a major contribution to the nineteenth-century novel, rivalling that of Dickens of Balzac and making him an essential candidate for any course on the fiction of the period.Jo Labanyi's study is supported by a wide-rangting introduction, a section of contemporary comment, headnotes to each piece and helpful appendix material.