Tolkien created the extraordinary world of Middle-earth and populated it with fantastic, archetypal denizens, reinventing the heroic quest, the world hardly noticed. Sales of The Lord of the Rings languished for the better part of two decades, until the Ballantine editions were published here in America. By late 1950s, however, the books were selling well and beginning to change the face of fantasy. . . . forever.A generation of students and aspiring writers had their hearts and imaginations captured by the rich tapestry of the Middle-earth mythos, the larger-than-life heroic characters, the extraordinary and exquisite nature of Tolkien's prose, and the unending quest to balance evil with good. These young readers grew up to become the successful writers of modern fantasy. They created their own worlds and universes, in some cases their own languages, and their own epic heroic quests. And all of them owe a debt of gratitude to the works and the author who first set them on the path.In Meditations on Middle-earth, sixteen bestselling fantasy authors share details of their personal relationships with Tolkien's mythos, for it inspired them all. Had there been no Lord of the Rings, there would also have been no Earthsea books by Ursula K. Le Guin; no Song of Ice and Fire saga from George R. R. Martin; no Tales of Discworld from Terry Pratchett; no Legends of Alvin Maker from Orson Scott Card. Each of them was influenced by the master mythmaker, and now each reveals the nature of that influence and their personal relationships with the greatest fantasy novels ever written in the English language.If you've never read the Tolkien books, read these essays and discover the depthy and beauty of his work. If you are a fan of The Lord of the Rings, the candid comments of these modern mythmakers will give you new insight into the subtlety, power, and majesty of Tolkien's tales and how he told them.

    Felski argues that critique is a sensibility best captured by Paul Ricoeur’s phrase “the hermeneutics of suspicion.” She shows how this suspicion toward texts forecloses many potential readings while providing no guarantee of rigorous or radical thought. Instead, she suggests, literary scholars should try what she calls “postcritical reading”: rather than looking behind a text for hidden causes and motives, literary scholars should place themselves in front of it and reflect on what it suggests and makes possible. By bringing critique down to earth and exploring new modes of interpretation, The Limits of Critique offers a fresh approach to the relationship between artistic works and the social world.

    An indispensable work of science fiction criticism revised and expanded

    We could not read literature in translation, it was argued, without asking ourselves if linguistic and cultural phenomena really were translatable and exploring in some depth the concept of equivalence. Professor Bassnett tackles the crucial problems of translation and offers a history of translation theory, beginning with the ancient Romans and encompassing key 20th-century structuralist work. She then explores specific problems of literary translation through a close, practical analysis of texts, and completes her book with extensive suggestions for further reading.

    Chapters on each element of poetry offer a wide-ranging general account and end by looking at different poems, to build up sustained analytical readings.The second edition--fully revised, expanded, updated, and supported by a new companion website--confirm The Poetry Handbook as the best guide to poetry available in English.

    Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    Porter Abbott emphasizes that narrative is found not only in the arts but everywhere in the ordinary course of people's lives. An indispensable tool for students and teachers alike, this book will guide readers through the fundamental aspects of narrative.

    Greg Carlisle, author of the landmark Wallace study Elegant Complexity, provides an introduction that sets the scene and speculates on the future of Wallace studies. Editor David Hering provides a provocative look at the triangular symbols in Infinite Jest. Adam Kelly explores the intriguing question of why Wallace is considered to be at the forefront of a new sincerity in American fiction. Thomas Tracey discusses trauma in Oblivion. Gregory Phipps examines Infinite Jest's John "No Relation" Wayne and the concept of the ideal athlete. Daniel Turnbull compares Wallace's Kenyon College commencement address to the ethics of Iris Murdoch. These 17 essays stem from the first ever academic conference devoted the work of David Foster Wallace. Held in Liverpool, England, in 2009, the conference sparked a worldwide discussion of the place of Wallace's work in academia and popular culture. Essential for all Wallace scholars, fans of Wallace's fiction and nonfiction will also find the collection full of insights that span Wallace's career. Yes, there are footnotes.

    Two hundred years later, Michel Foucault wrote a response to Kant's initial essay, positioning Kant as the initiator of the discourse and critique of modernity. The Politics of Truth takes this initial encounter between Foucault and Kant, as a framework for its selection of unpublished essays and transcripts of lectures Foucault gave in America and France between 1978 and 1984, the year of his death. Ranging from reflections on the Enlightenment and revolution to a consideration of the Frankfurt School, this collection offers insight into the topics preoccupying Foucault as he worked on what would be his last body of published work, the three-volume History of Sexuality. It also offers what is in a sense the most "American" moment of Foucault's thinking, for it was in America that he realized the necessity of tying his own thought to that of the Frankfurt School.

    As a brilliant survey of English literature in terms of changing attitudes towards country and city, Williams' highly-acclaimed study reveals the shifting images and associations between these two traditional poles of life throughout the major developmental periods of English culture.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

    In this unparalleled book, Marshall Berman takes account of the social changes that swept millions of people into the capitalist world and the impact of modernism on art, literature and architecture. This new edition contains an updated preface addressing the critical role the onset of modernism played in popular democratic upheavals in the late 1920s.