But a dissertation is written for a committee and a book for the larger world. William Germano's From Dissertation to Book is the essential guide for academic writers who want to revise a doctoral thesis for publication. The author of Getting It Published, Germano draws upon his extensive experience in academic publishing to provide writers with a state-of-the-art view of how to turn a dissertation into a manuscript that publishers will notice.Acknowledging first that not all theses can become books, Germano shows how some dissertations might have a better life as one or more journal articles or as chapters in a newly conceived book. But even dissertations strong enough to be published as books first need to become book manuscripts, and at the heart of From Dissertation to Book is the idea that revising the dissertation is a fundamental process of adapting from one genre of writing to another.Germano offers clear guidance on how to do just this. Writers will find advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. With crisp directives, engaging examples, and a sympathetic eye for the foibles of academic writing, From Dissertation to Book reveals to recent PhD's the process of careful and thoughtful revision—a truly invaluable skill as they grow into their new roles as professional writers.

    This book explores the universal heroine's journey as she quests through world myth. Numerous stories from cultures as varied as Chile and Vietnam reveal heroines who battle for safety and identity, thereby upsetting popular notions of the passive, gentle heroine. Only after she has defeated her dark side and reintegrated can the heroine become the bestower of wisdom, the protecting queen and arch-crone.

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    Gives readers an accessible overview of the many interlocking strands of the movement, focusing on the leading figures in Britain, Germany, France, America, Italy and Russia.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    A legendary figure in history, Vidocq is known as the first detective and an inspiration to great writers such as Honore de Balzac, Victor Hugo and Edgar Allen Poe. As a player in the criminal underworld, Vidocq is a master of disguises and an accomplished thief, eventually turning his unlawful talents toward catching criminals as the first French chief of secret police. Playing both sides of the law, Vidocq’s life highlights the blurry line between law enforcement and the criminals they pursue. Vidocq has a knack for finding trouble throughout his topsy-turvy life, getting into one hot situation after another, often finding himself behind bars, only to escape the first chance he gets. This book will take you on a whirlwind tour of 1830s France, including the circus stage, pirate ships, prison cells and beautiful women’s boudoirs. Vidocq’s life story is unforgettable and includes some of the best crime stories and juicy tales ever written. Last year, Gerard Depardieu starred in the French film adaptation of the memoirs, -titled Vidocq."He preferred the tumultuous life of danger to the contentment of security. His story is one long swashbuckling adventure as he breaks out of jails, pursues actresses, duels to the death, raids the hells of criminals and stalks the Paris night in a thousand disguises."—Philip John Stead, Vidocq, Picaroon of Crime

    General introductions by Janet Murray and Lev Manovich, along with short introductions to each of the texts, place the works in their historical context and explain their significance. The texts were originally published between World War II--when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared--and the emergence of the World Wide Web--when they entered the mainstream of public life.The texts are by computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. The contributors include (chronologically) Jorge Luis Borges, Vannevar Bush, Alan Turing, Ivan Sutherland, William S. Burroughs, Ted Nelson, Italo Calvino, Marshall McLuhan, Billy Kl?Jean Baudrillard, Nicholas Negroponte, Alan Kay, Bill Viola, Sherry Turkle, Richard Stallman, Brenda Laurel, Langdon Winner, Robert Coover, and Tim Berners-Lee. The CD accompanying the book contains examples of early games, digital art, independent literary efforts, software created at universities, and home-computer commercial software. Also on the CD is digitized video, documenting new media programs and artwork for which no operational version exists. One example is a video record of Douglas Engelbart's first presentation of the mouse, word processor, hyperlink, computer-supported cooperative work, video conferencing, and the dividing up of the screen we now call non-overlapping windows; another is documentation of Lynn Hershman's Lorna, the first interactive video art installation.

    His main target is the all-pervasive figure of the child, which he reads as the linchpin of our universal politics of “reproductive futurism.” Edelman argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. He boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order. In No Future, Edelman urges queers to abandon the stance of accommodation and accede to their status as figures for the force of a negativity that he links with irony, jouissance, and, ultimately, the death drive itself.Closely engaging with literary texts, Edelman makes a compelling case for imagining Scrooge without Tiny Tim and Silas Marner without little Eppie. Looking to Alfred Hitchcock’s films, he embraces two of the director’s most notorious creations: the sadistic Leonard of North by Northwest, who steps on the hand that holds the couple precariously above the abyss, and the terrifying title figures of The Birds, with their predilection for children. Edelman enlarges the reach of contemporary psychoanalytic theory as he brings it to bear not only on works of literature and film but also on such current political flashpoints as gay marriage and gay parenting. Throwing down the theoretical gauntlet, No Future reimagines queerness with a passion certain to spark an equally impassioned debate among its readers.

    Phillippy, Joel Blanchard, and Kevin Brownlee. A Selected Bibliography is included.

    After providing an engrossing account of Machiavelli's childhood and the period following his imprisonment and torture, the book turns to an examination of The Prince. The details of Machiavelli's life never cease to weave in and out of the narrative, as we read how his ideas gather power and coalesce into a unified vision of humankind and the world."De Grazia's achievement is to present a totally comprehensive view of Machiavelli mediated entirely through Machiavelli's own language."--Journal of Modern History

    Indeed, this relatively small group of twenty-seven works, written during the height of the Roman Empire, not only helped create and sustain a vast world religion, but also have been integral to the larger cultural dynamics of the West, above and beyond particular religious expressions. Looking at the New Testament through the lens of literary study, Kyle Keefer offers an engrossing exploration of this revered religious text as a work of literature, but also keeps in focus its theological ramifications. Unique among books that examine the Bible as literature, this brilliantly compact introduction offers an intriguing double-edged look at this universal text—a religiously informed literary analysis. The book first explores the major sections of the New Testament—the gospels, Paul's letters, and Revelation—as individual literary documents. Keefer shows how, in such familiar stories as the parable of the Good Samaritan, a literary analysis can uncover an unexpected complexity to what seems a simple, straightforward tale. At the conclusion of the book, Keefer steps back and asks questions about the New Testament as a whole. He reveals that whether read as a single document or as a collection of works, the New Testament presents readers with a wide variety of forms and viewpoints, and a literary exploration helps bring this richness to light. A fascinating investigation of the New Testament as a classic literary work, this Very Short Introduction uses a literary framework—plot, character, narrative arc, genre—to illuminate the language, structure, and the crafting of this venerable text.

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    There he would be incarcerated in a cell next door to the Man with the Iron Mask. . .From a glittering zenith as the King’s first minister, builder of the chateau of Vaux-le-Vicomte, collector of books, patron of the arts and lover of beautiful women, Fouquet had fallen like Icarus. Charged with embezzlement, he was convicted and sentenced to banishment until the King intervened to change his sentence to life imprisonment.Charles Drazin’s riveting account brings to life the rich and hazardous world in which Foucquet lived. But it is in his downfall and incarceration, which he bore with great fortitude, courage and humour, that Fouquet’s strength of character and grace emerge. The richness and contrasts of his remarkable story are done full justice in this compelling book.