The second chapter considers the way in which the West was seen at the time by residents of Central and Eastern Europe, while the third outlines the practice of Ketman, the act of paying lip service to authority while concealing personal opposition, describing seven forms applied in the people's democracies of mid-20th century Europe.The four chapters at the heart of the book then follow, each a portrayal of a gifted Polish man who capitulated, in some fashion, to the demands of the Communist state. They are identified only as Alpha, the Moralist; Beta, The Disappointed Lover; Gamma, the Slave of History; and Delta, the Troubadour. However, each of the four portraits were easily identifiable: Alpha is Jerzy Andrzejewski, Beta is Tadeusz Borowski, Gamma is Jerzy Putrament and Delta is Konstanty Ildefons Gałczyński.The book moves toward its climax with an elaboration of "enslavement through consciousness" in the penultimate chapter and closes with a pained and personal assessment of the fate of the Baltic nations in particular.

    Cultural Writing. Essays. A series of essays, ACADEMONIA is also an epic narrative of survival against institutional deadening and the proscriptiveness that shoots the young writer like poison darts from all sides. Here Bellamy, "explores the prickly intersection among these [institutional] spaces as it moves through institutions such as the academy, the experimental writing communities of the Bay Area, feminist and sexual identities, and group therapy. Continuing the work that she began in The Letters of Mina Harker pushing memoir and confession out of its safety zones and into its difficulties, this book provokes as it critiques and it critiques and yet at the same time manages to delight with its hope"-Juliana Spahr.

    When teachers offer themselves as moralists, political activists, or agents of social change rather than as credentialed experts in a particular subject and the methods used to analyze it, they abdicate their true purpose. And yet professors now routinely bring their political views into the classroom and seek to influence the political views of their students. Those who do this will often invoke academic freedom, but Fish argues that academic freedom, correctly understood, is the freedom to do the academic job, not the freedom to do any job that comes into the professor's mind. He insists that a professor's only obligation is "to present the material in the syllabus and introduce students to state-of-the-art methods of analysis. Not to practice politics, but to study it; not to proselytize for or against religious doctrines, but to describe them; not to affirm or condemn Intelligent Design, but to explain what it is and analyze its appeal."Given that hot-button issues such as Holocaust denial, free speech, and the Israeli-Palestinian conflict are regularly debated in classrooms across the nation, Save the World On Your Own Time is certain to spark fresh debate—and to incense both liberals and conservatives—about the true purpose of higher education in America.

    Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves--Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http: //zong.site.wesleyan.edu.

    Eavan Boland beautifully uncovers the powerful drama of how these lives affect one another; how the tradition of womanhood and the historic vocation of the poet act as revealing illuminations of the other.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Although he died nearly 200 years ago, something about his work continues to haunt the twenty-first century. What is it about Blake that has so endured? In this illuminating essay, John Higgs takes us on a whirlwind tour to prove that far from being the mere New Age counterculture figure that many assume him to be, Blake is now more relevant than ever.

    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

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    Introducing students to a variety of established theories of art, he presents the traditional sets of criteria of Realism, Expressionism, and Formalism, which are in turn updated by recent sources of Poststructuralism. Barrett applies each of these theories to challenging works of contemporary art, pointing out the strengths and weaknesses of each mode of interpretation. He encourages students to consider many criteria when evaluating an artwork, to critically examine judgments made by others, and to make informed judgments of their own. Ideal for courses in aesthetics, art theory, art criticism, and the philosophy of art, Why Is That Art? is organized chronologically according to the history of aesthetics. It features sixty-seven illustrations (twenty-six in a full-color insert), discusses a wide range of American and European artists, and includes an exceptional overview of postmodern pluralism. This unique book will provide students with a newfound appreciation for contemporary art, scholarship, and reasoned argumentation, giving them the confidence to join the fascinating discourse on contemporary art.

    This Very Short Introduction discusses both the history and key debates of postcolonialism, and considers its importance as a means of changing the way we think about the world.Robert J. C. Young examines the key strategies that postcolonial thought has developed to engage with the impact of sometimes centuries of western political and cultural domination. Situating the discussion in a wide cultural and geographical context, he draws on examples such as the status of indigenous peoples, of those dispossessed from their land, Algerian rai music, and global social and ecological movements. In this new edition he also includes updated material on race, slavery, and postcolonial gender politics. Above all, Young argues that postcolonialism offers a political philosophy of activism that contests the current situation of global inequality, which in a new way continues the anti-colonial struggles of the past and enables us to decolonize our own lives in the present.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area These pocket-sized books are the perfect way to get ahead in a new subject quickly Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable

    Even in the most vigilant eye, there is a blind spot. What is missing?”When it comes to Teju Cole, the unexpected is not unfamiliar: He’s an acclaimed novelist, an influential essayist, and an internationally exhibited photographer. In Blind Spot, readers follow Cole’s inimitable artistic vision into the visual realm as he continues to refine the voice, eye, and intellectual obsessions that earned him such acclaim for Open City.Here, journey through more than 150 of Cole’s full-color, original photos, each accompanied by his lyrical and evocative prose, forming a multimedia diary of years of near-constant travel: from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; landscapes, beautiful or quotidian, that inspire Cole’s memories, fantasies, and introspections. Ships in Capri remind him of the work of writers from Homer to Edna O’Brien; a hotel room in Wannsee brings back a disturbing dream about a friend’s death; a home in Tivoli evokes a transformative period of semi-blindness, after which “the photography changed. . . . The looking changed.”As exquisitely wrought as the work of Anne Carson or Chris Marker, Blind Spot is a testament to the art of seeing by one of the most powerful and original voices in contemporary literature.Praise for Blind Spot“This lyrical essay in photographs paired with texts explores the mysteries of the ordinary. Cole’s questioning, tentative habit of mind, suspending judgement while hoping for the brief miracle of insight, is a form of what used to be called humanism.”—New York Times Books Review (Editors’ Choice)“An eye-opening exploration of the world, time, and how the two connect.”—Nylon“[Teju] Cole’s fiction and essays are incredible, unexpected, and beautiful; he’s also a spectacular photographer. His first collection of photographs, each image accompanied by his stunning prose, promises to show us the world through his eyes, which always seem to see things in a brilliant new light.”—Lisa Lucas, National Book Foundation“Once you get a taste of [Cole’s] writing, you can quickly (and hungrily) burn through what’s available. Thankfully, Blind Spot will indulge the senses by combining both of Cole’s loves in this . . . full-color collection of Cole’s photos, accompanied by his prose.”—The Week“Many artists have felt the lure of juxtaposing photographs and text, but few have succeeded as well as Teju Cole. He approaches this problem with an understanding of the limitations and glories of each medium.”—Stephen Shore, author of Uncommon Places“Cole’s deeply affecting work juxtaposes tragedy with hidden-in-plain-sight beauty as he embraces ‘poetic possibility’ in every scene and moment.”—Booklist “Memoir meets museum catalog . . . A strange, cerebral, and very beautiful journey.”—Kirkus Reviews“This ambitious study deserves a spot on the shelf next to Roland Barthes’s Camera Lucida and Susan Sontag’s On Photography.”—Publishers Weekly (starred review)

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950