Neil Myers' poetry reflects his interest in the moods of local landscapes and in the language of ordinary experience. For this collection he has chosen forty lyric poems which deal with basic themes: the world around him, his family, children, parents, the past, and the seasons' cycle. The poet writes of his work: "I'm not concerned with labels. I admire poems that show energy and clarity, that deal with inward value held up against the weather, that are part of a constant process of making up one's mind about the world."
This is an intelligent study of an important topic, one not treated in this manner and deserving of a new investigation. It brings to bear, in particular, various recent critical concepts such as 'text' and 'intertextuality' that provide a new understanding of Gide's use of myth." Catharine Savage Brosman "Genova's study ... is an important contribution to our knowledge of Gide the writer and the man."Pierre L. Horn, Wright State University
Rojas's Celestina (1499) is perhaps the second greatest work of Spanish literature, right after Don Quixote, and Delicado sought to surpass it with La Lozana andaluza (1530), an important precedent of the picaresque novel.Both works were written during the height of the Inquisition, when the only relatively safe way for New Christian writers of Jewish extraction like Rojas and Delicado to express what they felt about the discrimination they suffered and their doubts regarding the faith that had been forced upon their ancestors was in a covert, indirect manner. Some scholars have detected this subversive element in Rojas' and Delicado's corrosive view of the Christian societies in which they lived, but this book goes far beyond such impressionism, showing through abundant textual evidence that these two authors used superficial bawdiness and claims regarding the morality of their respective works as cover to encode attacks against the central dogmas of Christianity: the Annunciation, the Virgin Birth, the Incarnation, and the Holy Trinity.This book, which will generate controversy among Hispanists, many of whom have refused to examine these works for non-Catholic views, will be of interest not only to students and scholars of Spanish literature, but also to those involved in Jewish studies, Medieval European history, and cultural studies.
Set in a variety of landscapes, this collection of poems blends diverse cultural experiences through the poet's unifying eye: the watchful, patient eye of the crow. The poet's sympathetic vision shows his love for the physical world through which he moves and for the humanity he encounters.
Drawing from Anglo-American, Asian American, and Asian literature as well as J-horror and manga, Chinese cinema and Internet, and the Korean Wave, Sheng-mei Ma’s Asian Diaspora and East-West Modernity probes into the conjoinedness of West and East, of modernity’s illusion and nothing’s infinitude. Suspended on the stylistic tightrope between research and poetry, critical analysis and intuition, Asian Diaspora restores affect and heart to the experience of diaspora in between East and West, at-homeness and exilic attrition. Diaspora, by definition, stems as much from socioeconomic and collective displacement as it points to emotional reaction. This book thus challenges the fossilized conceptualizations in area studies, ontology, and modernism. The book's first two chapters trace the Asian pursuit of modernity into nothing, as embodied in horror film and the gaming motif in transpacific literature and film. Chapters three through eight focus on the borderlands of East and West, the edges of humanity and meaning. Ma examines how loss occasions a revisualization of Asia in children's books, how Asian diasporic passing signifies, paradoxically, both "born again" and demise of the "old" self, how East turns "yEast" or the agent of self-fashioning for Anglo-America, Asia, and Asian America, how the construct of “bugman” distinguishes modern West's and East's self-image, how the extreme human condition of "non-person" permeates the Korean Wave, and how manga artists are drawn to wartime Japan. The final two chapters interrogate the West's death-bound yet enlightening Orientalism in Anglo-American literature and China's own schizophrenic split, evidenced in the 2008 Olympic Games.
Terence Tobin edits and annotates this bitingly satirical play written in 1 692 and attributed to Dr. Archibald Pitcairne. Significant as the only known full-length drama written in Scotland between the Reformation and the eighteenth century, it is a vigorous attack on religious hypocrisy.
The story told here of is one of adaptation and determination as the petty noble. Lacger family of Castres in southwestern France evolved -- and sometimes advanced their position--through the tr6ubled times of the Reformation and Wars of Religion, an all too brief period of tolerance, and the later proscription, of Protestantism. In the early 15oos, the family emerged from obscurity, some later attained influential posts and amassed considerable fortunes. While some family members embraced Catholicism for professional gain, family concerns were stiff important, as many then bequeathed their fortunes to Protestant family members.
In Blue Flame, noted regional biographer Robert C. Kriebel devotes his admiring attention to documenting Herman's life and music. No aspect of Herman's career escapes his gaze: the musicians-both famous and obscure who played in his bands, the music they played, the writers and arrangers of that music, the famous recordings, and the ups and downs of band life from the big-band heyday of the 1930s through half a century of changing tastes and changing times. The result of Kriebel's painstaking research is an accurate and detailed picture of the strenuous and frustrating life of' a big-band leader-a life that Herman himself characterized as "a big pain ... you're victimized before you even start, and it never lets up. There is no life, there is no home." Passion for the music, music-making, musicians, and fans kept Herman going. Kriebel captures these trials and passions for the reader in lively prose.
Constance Studer uses her family's story to illustrate larger ethical dilemmas in which modem medical professionals find themselves. The history of why prefrontal lobotomies were performed on patients is explored, and why only a few physicians raised dissenting voices to this mutilating surgery. Both the author and her father were injured by medical treatments that were intended to help. Her father's lobotomy caused irreversible brain damage. Connie's vaccine-related illness caused systemic lupus. She cites an article by Robert F. Kennedy, Jr. that investigates our government cover-up of a mercury/autism scandal. Thimerosal, the ethylmercury preservative used in vaccine preparation, appears to be responsible for the epidemic of autism and other neurological disorders among our children. In 2007, one child out of 150 suffers from autism or other neurological-cognitive disabilities. This book is a plea to the medical-pharmaceutical-government complex to ban the use of thimerosal in the production of vaccines and to re-evaluate the number of vaccines administered to infants and children.
In this book, prominent Italian American creative writers discuss the ways their heritage has impacted their works. For many, there has been a distinctive separation between their involvement with their families and the culture the immigrants brought to this country and their rise to positions of prominence in academic or literary circles in the United States. In trying to establish a unified identity, they have faced many conflicts between home values and the beliefs of a wider society. As writers, they discuss the ways their conflicts are represented in their works. They also discuss the ways that their childhood memories of immigrants, their practices have been a strong foundation for their creativity. In addition, five scholars in the field of Italian American literature critically analyze works by many of the creative writers in this anthology and discuss the future of the field.
What happens behind the doors of the animal shelter? This book will introduce the reader to the work culture of animal shelter employees, volunteers, activists, educators, and pets. By weaving together her own personal memoirs with interviews with workers, the author describes the traditions, philosophies, history, and current social dynamics of a typical animal welfare community. She examines how the daily interactions, personal philosophies, disparate methods, technology, and life experiences of the humans and pets influence the care of homeless animals, often playing an intricate role in the life or death situation each pet eventually faces.The author also describes her own experience with a "rescued" dog, touching upon the issues of victimization and redemption that she finds characterize the animal welfare field. The animals in the book are presented as active participants in this daily drama, able to communicate their needs to their caretakers and form lasting impressions. Throughout the book, workers, volunteers, and activists tell their own stories-stories that embody the hopes, frustrations, successes, and failures in bridging the bond between homeless pets and new families.
The author defines and analyzes the new type of theatrical perspective invented by Samuel Beckett. She begins with an overview of the major changes of the definition of perspective in a variety of domains of twentieth-century knowledge (e.g., art, science, philosophy, psychology), then discusses the concepts of time, space, and movement which underlie Beckett's notion and use of perspective in the theater. The Broken Window shows how Beckett translates a number of twentieth-century esthetic and philosophical concerns-the impossibility of separating subject and object, the indeterminacy of time and space, the inevitability of movement and change-into specific dramatic techniques, and traces their evolution through close textual analyses of six plays. Hale chose to analyze Endgame, Cascando, Film, Eh Joe, A Piece of Monologue, and Rockaby because they represent both diverse periods of Beckett's career and the variety of media in which he has pursued his formal experimentation-stage, radio, film, and television.
This inquiry into matters of heart, conducted under the shadows of pending surgery, awakens themes of boyhood, education, and marriage and prompt questions about loyalty to a deceased father, connections with immigrant grandparents, loss and rediscovery of faith, and solitude versus community. A medical narrative, the book also chronicles a span of contemporary American life. Throughout Amato's account, the consistent reminder of his upcoming bypass invites readers to reflect on their own lives and selves. This is an intelligent and witty guide to an immensely common operation that nevertheless for each patient constitutes a unique experience-a veritable rite of passage.
Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, Eljardin de Falerina, La nave del Mercador, La vida es sueflo, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against.
In 1948, the noted book designer and Purdue alumnus Bruce Rogers wrote a book that documented and illustrated his creation of the Centaur typeface. The book was privately printed by Rogers himself under the name of his studio, October House. This limited edition of the book was transferred to the Purdue Libraries at the time of his death along with his other papers and books. Over the years the remaining stock has found its home in the Special Collections of the Libraries. And although known as something of a collector's item by those who are aware of the few copies in circulation, it is here available to the general market for the first time. Centaur Types is a fascinating book for several reasons: in the designer's own words, we learn of the evolution of the typeface and of his interest in the art and craft of creating type; it demonstrates different and comparable typefaces, and gives examples of Centaur from six to seventy-two point; and lastly, it stands as a fitting example of fine book-making from one of the master book designers of his time.
Miguel de Cervantes's Novelas ejemplares, a collection of short stories in the tradition of Boccaccio, has a solid foundation in the history of Golden Age Spain. Joseph V Ricapito studies Cervantes's work from the point of view of "novelized history" or "history novelized." In line with current New Historical thought, he argues that literary production is largely from life and experience, and that Cervantes was acutely aware of the problems of his day.The novelas offer us a glimpse of Cervantes's Spain and include a cataloguing of the social, political, and historical problems of the time. Ricapitc shows how Cervantes fictionalizes the problems of unpopular minorities like Gypsies and conversos (Jewish converts to Catholicism); the difficulties of social mobility in a Christian setting; the presence in society of differing and even outlandish individuals; and the oppressive role of honor, which was popularized by Lope de Vega and later formed a leitmotiv of Spanish drama. In his analysis of Cervantes's creative response to history, Ricapito relates the novelas to the works of Lope de Vega and Mateo Aleman and shows how Cervantes brings to life many literary topoi and places them in a realistic, credible framework in which the historical presence is strongly felt. In Cervantes's treatment of Spain's waning prestige in Europe, we see his vision of human behavior. His view is stern, his critique is sharp, and he is sensitive to external stimuli.
While Victor Hugo's lasting appeal as a novelist can in large part be attributed to the unforgettable characters that he created, character has been paradoxically the most criticized and least understood element of his fiction. Character and Meaning in the Novels of Victor Hugo provides readers with a deeper understanding of the complexities and nuances that characterize both Hugo's novel writing and the nineteenth-century French novel, and will thus appeal to the specialist and non-specialist alike.
Charlie and the Shawneetown Dame is a dramatization of a true story from the Prohibition era, involving one of the more bizarre gang wars in the annals of American crime lore, replete with homemade tank battles, crude bombings from an open cockpit aircraft, and chronicling the life of Charlie Birger, a flamboyant, slightly mad Al Capone wannabe. And then there's the dame, a beautiful young blonde society babe, whose sexual double-dealing entices then infuriates both rival's renegade leaders. A rapid, riveting read, Bain himself considers this his best book.
Modern poetry on ruins performs an awakening call to the lurking real, to the violence of history in the making. The attacks in New York on September 11, 2001, and in Madrid on March 11, 2004, provoked diverse political reactions, but the imminence of the ruins triggered a collective historical awakening. The awakening can take the shape of bombs in Kabul and Baghdad, or political change in government policies, but it is also palpable when poetry voices a critique of the technological warfare and its versions of progress. Contemporary events and the modern ruins are reminiscent of the political impact that the Spanish Civil War and the two World Wars had on poetry. In Cities in Ruins: The Politics of Modern Poetics, Cecilia Enjuto Rangel argues that the portrayal in poetry of the modern city as a disintegrated, ruined space is part of a critique of the visions of progress and the historical process of modernization that developed during the nineteenth century and the first half of the twentieth century. Enjuto Rangel analyzes how Charles Baudelaire, Luis Cernuda, T. S. Eliot, Octavio Paz, and Pablo Neruda poeticized ruins as the cornerstones of cultural and political memory, and used the imagery of ruins to reinterpret their historical and literary traditions.
How can there be a book that maps these continents of clouds that drift apart, reshape their puzzle pieces, and coalesce into new geographies of air within one windblown hour?" Donald Platt delights in enticing his readers with unique thoughts and questions such as this in Cloud Atlas. Being his second published book of poetry, the collection comes alive with elegance and refinement. Poems from this collection originally appeared in publications including The New England Review, The Best American Poetry 2000, Paris Review, New Republic, and The Kenyon Review. "In [these] poems. . . daring and discipline meet in an encounter which is rare enough in contemporary poetry. Flowers, anger, memory and a meeting in traffic-all wayward fragments of life-are given coherence and power in these achieved poems. These are lyrics which pay a real attention to the experiences they come out of." -Eavan Boland
Epimetheus has largely been forgotten, and yet, he was once credited with bringing humans into the world naked, unshod, without bed, and unarmed. Rather than view this condition as one of deficiency to be covered over through some kind of technical artifice, Commemorating Epimetheus describes the human condition positively in terms of its state of origin. In other words, Amis seeks to articulate the goodness of fragility. The goodness of our fragility is approached phenomenologically and described in terms of sharing, caring, meeting, dwelling, and loving. These ways of existing with one another are not merely accidental characteristics of human beings or accidental characteristics of our relations with one another, but are inherently human. That is, we come into the world dependent on the care of others; we come to share in humanness through their care, and their care enables us to meet others, dwell with others, and, perhaps, love others. Commemorating Epimetheus investigates being human in terms of our relationships with one another.
"With this important treatise on the contemporary philosophy of interpretation, Schrag takes his stand at the leading edge of hermeneutic discussion. . . . Highly recommended."-Choice"He (Schrag) marvelously exemplifies and practices the ideal of philosophy as a reflective overcoming of one-sidedness. . . . His book is well worth reading for an up-to-date, state of the art discussion of the most fundamental issues in the debate between modernism and post-modernism."-Journal of the British Society for Phenomenology"Calvin O. Schrag is one of those remarkable writers who can draw widely from the diverse and complex work of contemporary philosophy, and do so without sacrificing detailed interpretation."-International Studies in Philosophy"The presentation is as vigilant and original as it is knowledgeable and lucid." -Phenomenological Inquiry
This volume contains selected papers of conferences organized by the editor, Steven Tötösy de Zepetnek, in 1999 and 2000 in Canada and the U.S. on various topics of culture and literature in Central and East Europe. Based on the (contested) notion of the existence of a specific cultural context of the region defined as "Central Europe," contributors to the volume discuss comparative cultural studies as a theoretical framework for the study of Central and East European culture(s) (Steven Tötösy de Zepetnek), modernism in Central European literature (Andrea Fábry), Central European Holocaust poetry (Zsuzsanna Ozsváth), gender in Central European literature and film (Anikó Imre), Austroslovakism in the work of Slovak writer Anton Hykisch (Peter Petro), Kundera and the identity of Central Europe (Hana Pichova), public intellectuals in Central Europe after 1989 (Katherine Arens), contemporary Austrian and Hungarian cinema (Catherine Portuges), the notion of peripherality in contemporary East European culture (Roumiana Deltcheva), and Central European Jewish family history in the film Sunshine (Susan Rubin Suleiman). The volume includes a bibliography for the study of Central European culture (Steven Tötösy de Zepetnek).
The scholarship in the volume Comparative Cultural Studies and Latin America represents the proposition that, given its vitality and excellence, Latin American literature deserves a more prominent place in comparative literature publications, curricula, and disciplinary discussions. The editors of the volume argue that there still exists, in some quarters, a lingering bias against literature written in Spanish and Portuguese and that by embracing Latin American literature more enthusiastically, comparative literature in the context of comparative cultural studies would find itself reinvigorated, placed into productive discourse with a host of issues, languages, literatures, and cultures that have too long been paid scant attention in its purview. Following an introduction by the editors, the volume contains papers by Gene H. Bell-Villada on the question of canon, by Gordon Brotherston and Lúcia de Sá on the First Peoples of the Americas and their literature, by Elizabeth Coonrod Martínez on the Latin American novel of the 1920s, by Román de la Campa on Latin American Studies, by Earl E. Fitz on Spanish American and Brazilian literature, by Roberto González Echevarría on Latin American and comparative literature, by Sophia A. McClennen on comparative literature and Latin American Studies, by Alberto Moreiras on Borges, by Julio Ortega on the critical debate about Latin American cultural studies, by Christina Marie Tourino on Cuban Americas in New York City, by Mario J. Valdés on the comparative history of literary cultures in Latin America, and by Lois Parkinson Zamora on comparative literature and globalization. The volume also contains a bibliography of scholarship in comparative Latin American culture and literature and biographical abstracts of the contributors to the volume.
The papers in this volume represent recent scholarship about Booker Prize Winner Michael Ondaatje's oeuvre by scholars working on English-Canadian literature and culture in Canada, England, Japan, New Zealand, and the USA. Papers in the volume are Victoria Cook, "Exploring Transnational Identities in Ondaatje's Anil's Ghost"; Beverley Curran, "Ondaatje's The English Patient and Altered States of Narrative"; Marlene Goldman, "Representations of Buddhism in Ondaatje's Anil's Ghost," Stephanie M. Hilger, "Ondaatje's The English Patient and Rewriting History"; Hsuan Hsu, "Post-Nationalism and the Cinematic Apparatus in Minghella's Adaptation of Ondaatje's The English Patient"; Glen Lowry, "The Representation of 'Race' in Ondaatje's In the Skin of a Lion"; Jon Saklofske, "The Motif of the Collector and Implications of Historical Appropriation in Ondaatje's Novels"; Sandeep Sanghera, "Touching the Language of Citizenship in Ondaatje's Anil's Ghost"; Eluned Summers-Bremner, "Reading Ondaatje's Poetry"; Winfried Siemerling, "Oral History and the Writing of the Other in Ondaatje's In the Skin of a Lion"; Steven Tötösy de Zepetnek, "Ondaatje's The English Patient and Questions of History"; Steven Tötösy de Zepetnek, "Selected Bibliography of Critical Work about Michael Ondaatje's Texts" and "A List of Michael Ondaatje's Works"; Bioprofiles of Contributors and Index.