D. Nuttall’s study of Shakespeare’s intellectual preoccupations is a literary tour de force and comes to crown the distinguished career of a Shakespeare scholar. Certain questions engross Shakespeare from his early plays to the late romances: the nature of motive, cause, personal identity and relation, the proper status of imagination, ethics and subjectivity, language and its capacity to occlude and to communicate. Yet Shakespeare’s thought, Nuttall demonstrates, is anything but static. The plays keep returning to, modifying, and complicating his creative preoccupations. Nuttall allows us to hear and appreciate the emergent cathedral choir of play speaking to play. By the later stages of Nuttall’s book this choir is nearly overwhelming in its power and dimensions. The author does not limit discussion to moments of crucial intellection but gives himself ample space in which to get at the distinctive essence of each work.Much recent historicist criticism has tended to “flatten” Shakespeare by confining him to the thought-clichés of his time, and this in its turn has led to an implicitly patronizing view of him as unthinkingly racist, sexist, and so on. Nuttall shows us that, on the contrary, Shakespeare proves again and again to be more intelligent and perceptive than his 21st-century readers. This book challenges us to reconsider the relation of great literature to its social and historical matrix. It is also, perhaps, the best guide to Shakespeare’s plays available in English.

    Iser examines what happens during the reading process, and how it is basic to the development of a theory of aesthetic response, setting in motion a chain of events that depends both on the text and the exercise of certain human faculties.

    A Critique of Postcolonial Reason tracks the figure of the native informant through various cultural practices--philosophy, history, literature--to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide. It ranges from Kant's analytic of the sublime to child labor in Bangladesh. Throughout, the notion of a Third World interloper as the pure victim of a colonialist oppressor emerges as sharply suspect: the mud we sling at certain seemingly overbearing ancestors such as Marx and Kant may be the very ground we stand on.A major critical work, Spivak's book redefines and repositions the postcolonial critic, leading her through transnational cultural studies into considerations of globality.

    His far-reaching claims about language and truth provoked a vigorous critique by Jacques Derrida, whose essay in turn has spawned further responses from Barbara Johnson, Jane Gallop, Irene Harvey, Norman Holland, and others.

    Including classic pieces such as Postcard from Rome, and his observations on Margaret Thatcher, it contains funny examinations of characters like Barry Humphries, while elsewhere showcasing James's more reflective and analytical style.

    This is the earliest surviving text of the Sanskrit literary genre called kavya and probably provided models for Kali.dasa's more famous works. The most poignant scenes on the path to his Awakening are when the young prince Siddhartha, the future Buddha, is confronted by the reality of sickness, old age, and death, while seduced by the charms of the women employed to keep him at home. A poet of the highest order, Ashva.ghosha's aim is not entertainment but instruction, presenting the Buddha's teaching as the culmination of the Brahmanical tradition. His wonderful descriptions of the bodies of courtesans are ultimately meant to show the transience of beauty.Co-published by New York University Press and the JJC FoundationFor more on this title and other titles in the Clay Sanskrit series, please visit http: //www.claysanskritlibrary.org"

    His "Shiji," or "Records of the Grand Historian," documents the history of China and its neighboring countries from the ancient past to his own time. These three volumes cover the Qin and Han dynasties.

    It is the first anthology of Chinese philosophy to cover its entire historical development. It provides substantial selections from all the great thinkers and schools in every period--ancient, medieval, modern, and contemporary--and includes in their entirety some of the most important classical texts. It deals with the fundamental and technical as well as the more general aspects of Chinese thought. With its new translation of source materials (some translated for the first time), its explanatory aids where necessary, its thoroughgoing scholarly documentation, this volume will be an indispensable guide for scholars, for college students, for serious readers interested in knowing the real China.

    It's known as the Diamond Sutra because its teachings are said to be like diamonds that cut away all dualistic thought, releasing one from the attachment to objects & bringing one to the further shore of enlightenment. The format of this important sutra is presented as a conversation between the Buddha & one of his disciples. The Sutra of Hui-neng, also known as the Platform Sutra, contains the autobiography of a pivotal figure in Zen history & some of the most profound passages of Zen literature. Hui-neng was the 6th patriarch of Zen in China, but is often regarded as the true father of the Zen tradition. He was a poor, illiterate woodcutter who is said to have attained enlightenment upon hearing a recitation of the Diamond Sutra. Together, these two scriptures present the central teaching of the Zen Buddhist tradition & are essential reading for all students of Buddhism.

    Eliot, contains essays from five earlier volumes: Pavannes and Divisions (1918), Instigations(1920), How to Read(1931), Make it New(1934), and Polite Essays(1937). The thirty-three essays contained in this collection are separated into three categories: The Art of Poetry, The Tradition, and Contemporaries. These essays showcase the range of Pound's interests, with topics ranging from modernist poetry to Japanese iconography, troubadour songs, and much more. Pound's influence on the modernist movement and literature as a whole makes this collection an important piece of literary history. With an introduction by T.S. Eliot.

    In this book Charles Martin, himself a poet, offers a deeper reading of Catullus, revealing the art and intelligence behind the seemingly spontaneous verse. Martin considers Catullus's life, habits of composition, and the circumstances in which he worked. He places him among the modernists of his age, who created a new ironic and subjective poetics, and he shows the affinity between Catullus and the modernists of our own age. Martin offers original interpretations of Catullus's poems, viewing the love poems to "Lesbia" as a unified, artfully arranged poetic sequence, and the short poems, often dismissed as unworthy of serious critical attention, as the irreverent products of a sophisticated poetic innovator.  Unlike Horace, Virgil, and Ovid, Catullus did not influence our literary culture until the beginning of the modern era, but he is now regarded as a poet who speaks to our age with a singular directness. Pointing to Catullus's self-awareness, playfulness, and comic invention and to the elaborate complexity of his experiments in poetic form, Martin gives both the scholar and the general reader a fresh appreciation of his poetic art.

    However, it is the fact that these texts are so central to our contemporary notion of literature that sometimes hinders our ability to understand them. Franco Moretti applies himself to this problem by drawing skilfully on structuralist, sociological and psycho-analytic modes of enquity in order to read these texts as literary systems which are tokens of wider cultural and political realities. In the process, Moretti offers us compelling accounts of various literary genres, explores the relationships between high and mass culture in this century, and considers the relevance of tragic, Romantic and Darwinian views of the world.

    Said. Addressed to students and scholars throughout the humanities, these essays address what Antonio Gramsci--the founder of the Italian communist party--called the subaltern classes, reexamining well-known historical and political events, such as Gandhi's role in India, from a Marxist perspective. Together, the essays examine aspects of the analysis of domination, with special reference to the critique of imperialism, in an attempt to rectify the elitist bias characteristic of much academic work on India. A ground-breaking work of considerable pedagogical relevance for courses dealing with colonialism and imperialism in literature, sociology, anthropology, politics, and history, Subaltern Studies also features a comprehensive glossary of Indian terms for readers not familiar with Indian history.

    Babu of Bhokarwadi dons the mantle of magician (‘Jadugaar’) to prove this point! Bajaba makes a complaint about a robbery in the hotel; but then also gives a written submission that the theft never took place (‘Chori zalich nahi’)! Fed up with the local politics (‘Gavgundi’), the newlyappointed lady teacher decides to quit her job and leave the village! Babu and Chengtya too face the same travails (‘Vanvaas’) as Rama had to. The Government issued an Ordinance legalizing corruption (‘Bhrashtaachar’); but this only serves to double Balu’s workload since he is a government servant! Bapu Patil did complete the adoption formalities (‘Dattakvidhi’) for his son, but Babu and Chengta manage to mess things up! Dagadu Gawali one conducts the class (‘Taas’) otherwise taken by the Std. IV Maths teacher who took pleasure in caning the boys! Siva Jamdade, Rama Kharat, Gana Mastar, Nana Chengat, and Babu Pailwan go for a picnic (‘Company’)! Fun…Irony…Advice…Sharp criticism…and tragedy too…such is the nature of this collection of stories.

    With the Bandung Conference and the formation of the Non-Aligned Movement, many of Europe’s former colonies banded together to form a common bloc, aligned with neither the advanced capitalist “First World” nor with the socialist “Second World.” In this historical context, the category of “Third World literature” emerged, a category that has itself spawned a whole industry of scholarly and critical studies, particularly in the metropolitan West, but increasingly in the homelands of the Third World itself.Setting himself against the growing tendency to homogenize “Third World” literature and cultures, Aijaz Ahmad has produced a spirited critique of the major theoretical statements on “colonial discourse” and “post-colonialism,” dismantling many of the commonplaces and conceits that dominate contemporary cultural criticism. With lengthy considerations of, among others, Fredric Jameson, Edward Said, and the Subaltern Studies group, In Theory also contains brilliant analyses of the concept of Indian literature, of the genealogy of the term “Third World,” and of the conditions under which so-called “colonial discourse theory” emerged in metropolitan intellectual circles.Erudite and lucid, Ahmad’s remapping of the terrain of cultural theory is certain to provoke passionate response.