History and Archaeology Books

Book SynopsisWhat does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? Performing the Sacred: Christian Representation and the Arts explores both the meaning of re-presentation and the role of performance within the Christian tradition between arts and drama. The essays in this book demonstrate that the idea of performance was central to Christian theology and that—from the Middle Ages to the Early Modern era—it became a device through which people saw, prayed, preached, wrote, imagined, officiated rites, celebrated cults, and practiced devotions. Seen that performance is a habitus within Christianity, performing the sacred does not just mean representing it, but rather enacting it in a tangible, visible and involved way.Table of ContentsPreface List of Illustrations Notes on Contibutors Introduction  Carla M. Bino and Corinna Ricasoli 1 The Drama of Christian Images: Art, Liturgy, Sacred Theatre  Timothy Verdon 2 A ‘Dramatic Turn’: The Revolution of Christian Representation  Carla M. Bino 3 No Drama Please, We’re Greek: Sacred Plays from a Greek Orthodox Perspective  Andrew Walker White 4 Enacting Sacred Narrative: Biblical, Liturgical, and Sacramental Practices in the Latin West  Nils Holger Petersen 5 Mary in the Scriptures as Container and Way: Henry Adams and the Virgin of Chartres  Rachel Fulton Brown 6 The Power of Images of Passion: Animated Sculptures of the Crucified Christ and the Problem of Visualizing Suffering in Medieval Art  Kamil Kopania 7 Women as Performers of the Bible: Female Preaching in Premodern Europe  Carolyn Muessig 8 Dramatic Action and the Participatory Spectator at the Sacro Monte di Varallo: Frozen Theatre or Immersive Installation?  Allie Terry-Fritsch 9 The Paradox of the Saint Actress: Church and Commedia Dell’arte during the Counter-Reformation  Fabrizio Fiaschini 10 Performing Glory: The Misteri or Festa D’elx on Contemporary Stages  Francesc Massip 11 Performing the Bible: Christian Drama and the Arts  Jean-Claude Schmitt Copyright Index

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Book SynopsisThe seventeenth century Reformed Orthodox discussions of the work of Christ and its various doctrinal constitutive elements were rich and multifaceted, ranging across biblical and exegetical, historical, philosophical, and theological fields of inquiry. Among the most contested questions in these discussions was the question of the necessity of Christ’s satisfaction. This study sets that “great controverted point,” as Richard Baxter called it, in its historical and traditionary contexts and provides a philosophical and theological analysis of the arguments offered by two representative Reformed scholastic theologians, William Twisse and John Owen.

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Book SynopsisThe volume offers the first large-scale study of the teaching of Descartes’s philosophy in the early modern age. Its twenty chapters explore the clash between Descartes’s “new” philosophy and the established pedagogical practices and institutional concerns, as well as the various strategies employed by Descartes’s supporters in order to communicate his ideas to their students. The volume considers a vast array of topics, sources, and institutions, across the borders of countries and confessions, both within and without the university setting (public conferences, private tutorials, distance learning by letter) and enables us thereby to reconsider from a fresh perspective the history of early modern philosophy and education.Table of ContentsList of Figures and Tables Abbreviations Introduction  Davide Cellamare and Mattia Mantovani 1 Descartes and the Classroom  Theo Verbeek 2 The Philosophical Fulcrum of Seventeenth-Century Leiden: Pedagogical Innovation and Philosophical Novelty in Adriaan Heereboord  Howard Hotson 3 Teaching Cartesian Philosophy in Leiden: Adriaan Heereboord (1613–1661) and Johannes De Raey (1622–1702)  Antonella Del Prete 4 Reassessing Johannes De Raey’s Aristotelian-Cartesian Synthesis: The Copenhagen Manuscript Annotata in Principia philosophica (1658)  Domenico Collacciani 5 “Let Descartes Speak Dutch”: Spinoza’s Circle Teaching Cartesianism  Henri Krop 6 Patronage as a Means to End a University Controversy: The Conclusion of Two Cartesian Disputes at Frankfurt an der Oder (1656 and 1660)  Pietro Daniel Omodeo 7 Cartesian and Anti-Cartesian Disputations and Corollaries at Utrecht University, 1650–1670  Erik-Jan Bos 8 Between Descartes and Boyle: Burchard de Volder’s Experimental Lectures at Leiden, 1676–1678  Andrea Strazzoni 9 Medicine and the Mind in the Teaching of Theodoor Craanen (1633–1688)  Davide Cellamare 10 Cartesius Triumphatus: Gerard de Vries and Opposing Descartes at the University of Utrecht  Daniel Garber 11 Debating Cartesian Philosophy on Both Sides of the Channel: Johannes Schuler’s (1619–1674) Plea for libertas philosophandi  Igor Agostini 12 Descartes by Letter—Teaching Cartesianism in Mid-Seventeenth-Century Cambridge: Henry More, Thomas Clarke and Anne Conway  Sarah Hutton 13 Teaching Descartes’s Ethics in London and Cambridge  Roger Ariew 14 Teaching Magnetism in a Cartesian World, 1650–1700  Christoph Sander 15 The Anatomy of a Condemnation: Descartes’s Theory of Perception and the Louvain Affair, 1637–1671  Mattia Mantovani 16 Descartes’s Theory of Tides in the Louvain Classroom, 1670–1760  Carla Rita Palmerino 17 Traces of the Port-Royal Logic in the Louvain Logic Curricula  Steven Coesemans 18 Cartesianism and the Education of Women  Marie-Frédérique Pellegrin 19 Rohault’s Private Lessons on Cosmology  Mihnea Dobre 20 French Cartesianisms in the 1690s: The Textbooks of Regis and Pourchot  Tad M. Schmaltz Bibliography Index

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Book SynopsisThe present volume focuses on Henry Bate of Mechelen (1246–after 1310), the first scholar to bring Ibn Ezra’s astrological work to the knowledge of Latin readers. The volume has two main objectives. The first is to offer as complete and panoramic an account as possible of Bate’s translational project. Therefore, this volume offers critical editions of all six of Bate’s complete translations of Ibn Ezra’s astrological writings. The second objective is to accompany Bate’s Latin translations with literal English translations and to offer a thorough collation of the Latin translation (with their English translations) against the Hebrew and French source texts. This is volume 2 of a two-volume set.

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Book SynopsisThe Renaissance witnessed an upsurge in explanations of natural events in terms of invisibly small particles – atoms, corpuscles, minima, monads and particles. The reasons for this development are as varied as are the entities that were proposed. This volume covers the period from the earliest commentaries on Lucretius’ De rerum natura to the sources of Newton’s alchemical texts. Contributors examine key developments in Renaissance physiology, meteorology, metaphysics, theology, chymistry and historiography, all of which came to assign a greater explanatory weight to minute entities. These contributions show that there was no simple ‘revival of atomism’, but that the Renaissance confronts us with a diverse and conceptually messy process. Contributors are: Stephen Clucas, Christoph Lüthy, Craig Martin, Elisabeth Moreau, William R. Newman, Elena Nicoli, Sandra Plastina, Kuni Sakamoto, Jole Shackelford, and Leen Spruit.Table of ContentsContents List of Illustrations Notes on Contributors 1 Atoms, Corpuscles, and Minima in the Renaissance: An Overview  Christoph Lüthy and Elena Nicoli 2 Atomism in Sixteenth-Century Italian Commentaries on Lucretius  Elena Nicoli 3 Galenic Medicine and the Atomist Revival: Elements, Particles, and Minima in Late Renaissance Physiology  Elisabeth Moreau 4 Pores, Parts, and Powers in Sixteenth-Century Commentaries on Meteorologica IV  Craig Martin 5 Atoms, Corpuscles, and Minima in the Renaissance: The Case of Nicolaus Biesius (1516–1573)  Christoph Lüthy 6 Mechanical Arts and Biological Development on the Sixteenth-Century World Stage: The Paracelsian Mechanical Philosophy of Petrus Severinus  Jole Shackelford 7 Democritus in Francesco Patrizi and Giordano Bruno  Leen Spruit 8 Nicholas Hill, an English Atomist  Sandra Plastina 9 Finite God and Infinite Space: Conrad Vorstius and David Gorlaeus  Kuni Sakamoto 10 Atomism, Mechanism, and Chymistry in the Natural Philosophy of Walter Warner  Stephen Clucas 11 Isaac Newton’s Atomist Sources: The Case of Bernhard Varenius  William R. Newman Bibliography Index

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Book SynopsisThis book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093). The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to explore. Contributors are: Mickey Abel, Carl F. Barnes Jr., Robert Bork, George Brooks, Michael T. Davis, Amy Gillette, Erik Gustafson, Maile S. Hutterer, John James, William Sayers, Ellen Shortell, Alice Isabella Sullivan, Richard Alfred Sundt, Sarah Thompson, Steven A. Walton, Maggie M. Williams, Kathleen Wilson Ruffo, and Nancy Wu.

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Book SynopsisIn this erudite book, Ian Adamson provides a comprehensive history of Gresham College in the seventeenth century, particularly its contribution to the intellectual, educational, and administrative life of London and England. He analyses its relationship with the Tudor and Stuart courts, the Corporation of London, the universities, and the Royal Society, and assesses the quality and effectiveness of all the professors elected during this period. Finally, he explains the presence in the College of Ben Jonson and Sir Kenelm Digby, why it is likely that Shakespeare was often in attendance, and the enduring impact of John Ward’s collective biography of the professors.Table of ContentsAcknowledgments List of Figures Introduction 1 Origins: The Influence of Sir Thomas and Lady Gresham, 1565–1596  1 Introduction  2 Fame: Sir Thomas Gresham and the Conception of Gresham College 1565–1579  3 Family: Lady Gresham and the Gestation of Gresham College  4 Conclusion 2 The Birth of Gresham College, Part 1: The Committee, the Property and the Income  1 The Committee  2 The Property  3 The Income  4 Conclusion 3 The Birth of Gresham College, Part 2: The Committee and the Professors 1597–1601  1 Introduction  2 Election: The Appointment of the Foundation Professors, 1597  3 Direction: The Academic and Administrative Regulation of the College, 1597–1601  4 Rejection: The Response of the Professors to the Regulation of the College, 1597–1601 4 A Fragile Truce: The Professors and the Trustees 1600–1640  1 Introduction  2 A Malleable Institution? 5 Patronage and Pluralism 1597–1660  1 Introduction  2 Royal and Aristocratic Patronage  3 University Patronage  4 The Gresham Committee 6 Gresham College 1640–1660: Disaster  1 Introduction  2 The Trustees and National Events  3 Gresham College 1640–1660: Appropriation  4 Gresham College 1640–1660: Elections  5 Gresham College 1640–1662: Criticism and Demands for Change 7 Gresham College 1660–1710: From the Restoration to the Departure of the Royal Society  1 Introduction  2 Part 1. Tragedy: The immediate Impact of the Great Fire on the Gresham Trusts  3 Part 2. Farce: The Trustees and the Professors 1660–1700 3.1 Part 2, 1: The Aftermath of the Great Fire, 1666–1680 3.2 Part 2, 2: Robert Hooke on Gresham College, 1672–1680 3.3 Part 2, 3: John Flamsteed on Gresham College 1680–1684 3.4 Part 2, 4: The Slide into Crisis 1684–1686  4 Part 3. Redemption? Gresham College and the Royal Society 1660–1699  5 Part 4. Failure: The College and Reform, 1699–1710  6 Conclusion 8 The Professors 1597–1710  1 Introduction  2 The Chair of Geometry 2.1 Henry Briggs (bap.1561–d.1631): Professor 1597–1620 2.2 Peter Turner (1586–1652): Professor 1620–1631 2.3 John Greaves (1602–1652): Professor 1631–1643 2.4 Ralph Button (1611/12–1680): Professor 1643–1648 2.5 Daniel Whistler (1618/19–1684): Professor 1648–1657 2.6 Lawrence Rooke (1619/20–1662): Professor 1657–1662 2.7 Isaac Barrow (1630–1677): Professor 1662–1664 2.8 Arthur Dacres (bap. 1624 – d. 1678): Professor 1664–1665 2.9 Robert Hooke (1635–1703): Professor 1665–1703 2.10 Andrew Tooke (bap.1673 – d.1732): Professor 1704–1729  3 The Chair of Astronomy 3.1 Edward Brerewood (1565–1613): Professor 1597–1613 3.2 Thomas Williams (c. 1582 – after 1620): Professor 1613–1620 3.3 Edmund Gunter (1581–1626): Professor 1620–1626 3.4 Henry Gellibrand (1597–1637): Professor 1626–1637 3.5 Samuel Foster (c. 1600–1652): Professor 1637 (March to November) and 1641–1652 3.6 Mungo Murray (1599–1670): Professor 1637–1641 3.7 Lawrence Rooke (1619/20–1662): Professor 1652–1657 3.8 Christopher Wren (1632–1723): Professor 1657–1661 3.9 Walter Pope (1628–1714): Professor 1661–1687 3.10 Daniel Man (c. 1665–1723): Professor 1687–1691 3.11 Alexander Torriano (1667–1716): Professor 1691–1713  4 The Chair of Physic 4.1 Matthew Gwinne. (1558–1627): Professor: 1597–1607 4.2 Peter Mounsell (c.1570–1615): Professor: 1607–1615 4.3 Thomas Winston (1575–1655): Professor: 1615–1642 and 1652–1655 4.4 Paul de Laune (1585–1655?): Professor 1643–1652 4.5 Jonathan Goddard (1617–1675): Professor 1655–1675 4.6 John Mapletoft (1631–1721): Professor 1675–1679 4.7 Henry Paman (1623–1695): Professor 1679–1689 4.8 Edward Stillingfleet (1661–1708): Professor 1689–1693 4.9 John Woodward (1665–1728): Professor 1693–1728  5 The Chair of Divinity 5.1 Anthony Wotton (1561–1626): Professor 1597–8 5.2 Hugh (Hugo) Gray (c.1559–1604): Professor 1598–1604 5.3 William Dakins (1568–1607): Professor 1604–1607 5.4 George Mountayne (1569–1628): Professor 1607–1610 5.5 William Osbolston (c.1578–1645): Professor 1610–1612 5.6 Samuel Brooke (1575–1631): Professor 1612–1629 5.7 Richard Holdsworth (1590–1649): Professor 1629–1641 5.8 Thomas Horton (c.1606–1673): Professor 1641–1661 5.9 George Gifford (c.1623–1686): Professor 1661–1686 5.10 Henry Wells (c.1660-?): Professor 1686–1691 5.11 Edward Lany (c. 1665–1728): Professor 1691–1728  6 The Chair of Law 6.1 Henry Mountlow (c.1554–1634): Professor 1597–1607 6.2 Clement Corbet (1576–1652): Professor 1607–1613 6.3 Thomas Eden (c. 1577–1645): Professor 1613–40 6.4 Benjamin Thorneton (1613–1667): Professor 1640–1644 and 1660–1667 6.5 Joshua Cross (1615–1676): Professor 1644–1649 6.6 Thomas Leonard (c. 1599–1659): Professor 1649–1650 6.7 John Bond (1612–1676): Professor 1650–1660 6.8 Richard Pearson (1630–1670): Professor 1667–1670 6.9 John Clarke (c.1625–1672): Professor 1670–1672 6.10 Roger Meredith (c.1637–1700): Professor 1673–1687 6.11 Robert Briggs (1660–1718): Professor 1687–1718  7 The Chair of Music 7.1 John Bull (1559x1563–1628): Professor 1597–1607 7.2 Thomas Clayton (1575–1647): Professor 1607–1610 7.3 John Taverner (1584–1638): Professor 1610–1638 7.4 Richard Knight (c.1610–c.1651): Professor 1638–1651 7.5 William Petty (1623–1687): Professor 1651–1661 7.6 Thomas Baines (c.1622–1681): Professor 1661–1681 7.7 William Perry (c. 1651–1696): Professor 1681–1696 7.8 John Newey (1664–1735): Professor 1696–1705 7.9 Robert Shippen (1675–1745): Professor 1705–1710  8 Chair of Rhetoric 8.1 Caleb Willis (c.1567–c.1598): Professor 1597–8 8.2 Richard Ball (c. 1550–?): Professor 1598–1614 8.3 Charles Croke (c. 1587–1657): Professor 1614–1619 8.4 Henry Croke (c. 1596–1642): Professor 1619–1627 8.5 Edward Wilkinson (1607–?): Professor 1627–1638 8.6 John Goodridge (c.1581–1654): Professor 1638–1654 8.7 Richard Hunt (c.1628–1690): Professor 1654–9 8.8 William Croone (1633–1684): Professor 1659–1670 8.9 Henry Jenkes (d. 1697): Professor 1670–1676 8.10 John King (??): Professor 1676–1686 8.11 Charles Gresham (c. 1663–1718): Professor 1686–1696 8.12 Edward Martyn (c. 1671–1720): Professor 1696–1720  9 Conclusion 9 Gresham College, Four Persons of Interest: Benjamin Jonson, William Shakespeare, Sir Kenelm Digby and Doctor John Ward  1 Introduction  2 Benjamin Jonson ‘of Gresham College’ 2.1 Introduction  3 William Shakespeare, Matthew Gwinne and Gresham College: Did Shakespeare Cross the Road? 3.1 Introduction  4 Aubrey’s Bearded Recluse: Sir Kenelm Digby and Gresham College, 1633 and After 4.1 Aubrey’s Brief Life of Digby: Provenance and Corroboration 4.2 Corroboration by Contemporary Letters or Other Documentation? 4.3 The Influence of Aubrey’s Story on Biographers and Historians 4.4 What Was Digby Doing between 1633 and 1635? 4.5 Aubrey’s Error: Digby, Hunneades and Gresham College after 1635 4.6 Conclusion  5 Dr John Ward. Gresham College: ‘So Noble a Design’ Conclusion Appendix Bibliography Index

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Book SynopsisBen Vautier, Niki De Saint Phalle, François Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pagès, Jean-Pierre Pincemin, Annette Messager, Gérard Titus-Carmel: eleven major French artists of the last forty years or so, examined in the light of their uniqueness and their rootedness, the specificities of their differing and at times overlapping plastic practices and the swirling and often highly hybridised conceptions entertained in regard to such practices. Thus does analysis range from discussion of the feisty, Fluxus-inspired, free-spirited funkiness of Ben Vautier’s work to the various modes of transcendence of trauma and haunting fear generated by the exceptional gestures of Niki de Saint Phalle and Louise Bourgeois, to the alyrical formalism yet imbued with irony and ludicity of François Morellet, through to the serene intensities of Alexandre Hollan’s vies silencieuses, the infinite a-signatures of Claude Viallat’s adventure in the sheer joy of a poiein of self-reflexive coloration, the powerfully elegant and muscular disarticulations of Bernard Pagès’ sculpture, the great sweep through art’s history implied by Jean-Pierre Pincemin’s chameleon-like gestures, the vast swirling programme of socio-psychological analysis the arts of Annette Messager and Sophie Calle offer in their radically distinctive manners, the obsessively serialised oeuvre of Gérard Titus-Carmel allowing a burrowing deep into the opaque logic of a real though dubious ‘presence to the world’.Table of ContentsPreface Truth and Infinity: Ben Vautier Shooting for Transcendence: Niki de Saint Phalle Baroque Minimalist?: François Morellet Sublimation, the Irreducible and the Sacred: Louise Bourgeois Seeing Being: Alexandre Hollan Spiralling, Infinity, Tautology: Claude Viallat Ritual, Desire, Dys-Covering: Sophie Calle Raggedness, Fusion and Silence: Bernard Pagès Structure, Sensuality, Fable, Accompaniment: Jean-Pierre Pincemin Chimera, Caress, Sacred Implosion: Annette Messager Absence and Melancholia, Meaning and Beauty: Gérard Titus-Carmel Bibliography

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Book SynopsisThis collection ranges far and wide, as befits the personality and accomplishments of the dedicatee, Geoffrey V. Davis, German studies and exile literature scholar, postcolonialist (if there are ‘specialties’, then Australia, Canada, India, South Africa, Black Britain), journal and book series editor.... The volume opens with essays on cultural theory and practice, proceeds to close analyses of ‘settler colony’ texts from Canada, India, Australia, and New Zealand (drama, fiction, and poetry) as well as Pacific drama and Canadian indigeneity, thence ‘homeward’ to the UK (black drama, Scottish fiction, the music of Morrissey) and to German themes (exile literature; fictions about Hitler). Because Geoff’s commitment to literature has always been ‘hands-on’, the book closes with a selection of poems and experimental prose. Writers discussed include Carmen Aguirre, Hany Abu-Assad, Beryl Bainbridge, Albert Belz, Peter Bland, Peter Carey, Lynda Chanwai–Earle, Kamala Das, Robert Drewe, Éric Emmanuel–Schmitt, Toa Fraser, Stephen Fry, Dianna Fuemana, Mavis Gallant, Alasdair Gray, Xavier Her¬bert, Janette Turner Hospital, Elizabeth Jolley, Wendy Lill, Varanasi Nagalakshmi, Arundhati Roy, Daniel Sloate, Drew Hayden Taylor, Jane Urquhart, Roy Williams, and Arnold Zweig.Table of ContentsAcknowledgements Introduction: A Memory Trip. Partly in Tandem, Partly Quadrilogical Conspectus and Comparison Erhard Reckwitz: Literature as a Rule-Breaking Activity Sven Strasen and Peter Wenzel: Construction of Identities, Polar Opposites, and Cultural Models: The Binary Approach to Cultural Interaction Gerhard Stilz: What Happens in the ‘Contact Zone’? Ganesh Devy: Endangered Languages and Dispossessed Communities Norbert H. Platz: Ecocriticism, Environmental Ethics, and a New Ecological Culture Unsettled Settlers and Others Kristjana Gunnars: Extreme Liminality: The Linked Stories of Édouard, Juliette, and Lena in Mavis Gallant’s Overhead in a Balloon Peter O. Stummer: Move the Earth with One’s Dramatic Shovel? Some Observations on Recent Plays in Canada and Beyond Terry Goldie: Fanciful Indigeneity Martin Kuester: Between European Past and Canadian Present: Lesbian Mennonite Writing and Collective Memory David Callahan: Entropy and the Totally Buried Home in Jane Urquhart’s A Map of Glass Devindra Kohli: “Under a pillar of rain/thinking goodbye”: Remembering Kamala Das Béatrice Bijon: ‘Bubbles into the Bottle’ of Postcolonialism: Ritornellos and Screen-Memories in Arundhati Roy’s The God of Small Things Russell McDougall: The Materialization and Transformation of Xavier Herbert: A Body of Work Committed to Australia Dolores Herrero: The Phantom and Transgenerational Trauma in Elizabeth Jolley’s The Well Helga Ramsey–Kurz: Due Preparations for Paradise: or, The Plague Now According to Hany Abu-Assad and Janette Turner Hospital Marc Delrez: “Grace of the Crocodiles”: Towards Deterritorialization of Culture in Robert Drewe’s Grace Jaroslav Kušnír: Lives of Artists, Identities of Countries: Dependence, Displacement, Identity, and Australia in Peter Carey’s Theft Marc Maufort: Positioning Alterity: Multi-Ethnic Identities in Contemporary New Zealand Drama Peter H. Marsden: Ut pictura poiesis: Paintings and Painters in the Poetry of Peter Bland Home Territory Bénédicte Ledent: A Play of Significance: Roy Williams’s Days of Significance and the Question of Labels Carla Sassi: Postcolonializing Glasgow’s Amnesia: Alasdair Gray’s Lanark as a Palimpsest of Scottish Imperial History Gavin Hopps: A Foreigner at Home: Morrissey and the Art of Embarrassment First Love David Midgley: Zweig’s Englishmen Deborah Vietor–Engländer: “Mr Davis’s Monument, or Dear Mr Davis, what shall I do?” Ian Wallace: The Enigma of Hitler: Counterfactual Perspectives What It’s All About Dennis Haskell: A Tale of Two Cities Geoff Goodfellow: Onto the Spin Cycle Michael Sharkey: The Day Collector: An Ode. My Classic Bent: Scene From a Life Gordon Collier: Canada Quartet (for Geoff). Historia canis. In motionless air Anne Brewster: Travelogue Andrew Taylor: Karri forest. Maxi, goodbye Pia Thielmann: The Way to Agra; or Nature’s Pain Everywhere Kirpal Singh: from this side of memory Notes on Contributors

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Book SynopsisThis study is the first concentrated investigation of the Old English Book of Consolation Meters, associated with King Alfred’s court. These Alfredian poems, which have long been neglected, recapture poetic ideas from their Latin model, Boethius’ De Consolatione Philosophiae. This volume examines the Meters as poetic responses to the prose passages of the Froferboc. The poetry provides allusive commentary on the prose as it echoes poetic ideas in Boethius’ poetry. It is the first study to benefit from the recent edition of the Froferboc, the first printed edition to restore the prosimetrum format presented in the earliest manuscript.Table of ContentsAcknowledgements Kurt Otten: Foreword Introduction The Alfredian Boethius The Alfredian World View in the Poetry Cultivating Ingeðonc (“Inner Thought”) Meditative Imagery: The Landscape of the Mind Bibliography Index

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Book SynopsisHow can the short story help to redefine modernism, postmodernism and their interrelationship? What is the status of the short story in modern literary history? These are the central questions that the essays collected in this volume try to answer from different perspectives through readings of short fiction in English and accounts of the genre’s theorisations. The essays by a group of international scholars tackle theoretical issues that are central in approaches to both “movements” such as periodisation, autonomy, high vs. popular literature, totality vs. fragmentation, surface vs. depth, otherness, representation, and, above all, the subject and its vicissitudes. Because it blends theory-based arguments into the approaches to the short fiction of mainly canonical authors (Joyce, Woolf, Lewis, Ballard, Carter, Rushdie, or Wallace), Modernism, Postmodernism, and the Short Story in English is of interest not only to readers and scholars of the short story, but also to those coming from the fields of literary theory and literary history.Trade Review"The present volume is an inspiring collection of essays which succeeds in engaging the reader in a thought-provoking discussion on issues which are presently at the core of literary and artistic debates, such as the definition and delimitations of the short story, as well as the ideas and problematics of modernist and postmodernist creation. […] Sacido’s collection of essays becomes, therefore, a fundamental work of reference central to any discussion not only on literary theory and history, but also on the status of cultural forms of represeantation." – Isabel Andrés Cuevas, University of Grenada, in: miscelánea: a journal of English and American studies 50 (2014) pp. 173-7 “[…] subversive quality […] What is more, Sacido’s essay collection offers an original and ground-breaking approach to the role of the short story in modernist and postmodernist aesthetics that neither specialists in the short story genre nor those interested in twentieth century literature or criticism should miss.” – Carmen Lara Rallo, Universidad de Málaga, in: ATLANTIS - Journal of the Spanish Association of Anglo-American Studies 36.1 (2014), pp. 179-183 “[…] its daring variety, its capacity to challenge hackneyed binary notions about Modernism and Postmodernism, and, above all, its critical perceptiveness turn it into profitable reading for all those who feel inclined to believe that the short story is a genre of and for the future.” – José Antonio Álvarez Amorós, Universidad de Alicante, in: International Journal of English Studies 14.1 (2014), pp. 125-130Table of ContentsAcknowledgements Jorge Sacido: Introduction Jorge Sacido: Modernism, Postmodernism and the Short Story Refocusing “Modernism” through the Short Story Adrian Hunter: The Short Story and the Difficulty of Modernism José María Díaz: Allegory and Fragmentation in Wyndham Lewis’s The Wild Body and Djuna Barnes’s A Book The Subject Vanishes: Modernist Contraction, Postmodernist Effacement and the Short Story Genre Tim Armstrong: Man in a Sidecar: Madness, Totality and Narrative Drive in the Short Story Fred Botting: Stories, Spectres, Screens Paul March-Russell: The Writing Machine: J. G. Ballard in Modern and Postmodern Short Story Theory The Subject Reappears: Postcolonial Conflict and the Other’s Stories Esther Sánchez-Pardo: Postmodernist Tales from the Couch J. Manuel Barbeito and María Lozano: Mind the Gap: Modernism in Salman Rushdie’s Postmodern Short Stories Manuela Palacios: One anOther: Englishness in Contemporary Irish Short Fiction Short Notes from the Contemporary Underground José Francisco Fernández: A Move against the Dinosaurs: The New Puritans and the Short Story Contributors Index

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Book SynopsisConversing Identities: Encounters Between British, Irish and Greek Poetry, 1922-1952 presents a panorama of cultures brought in dialogue through travel, immigration and translation set against the insularity imposed by war and the hegemony of the national centre in the period 1922-1952. Each chapter tells a story within a specific time and space that connected the challenges and fissures experienced in two cultures with the goal to explore how the post-1922 accentuated mobility across frontiers found an appropriate expression in the work of the poets under consideration. Either influenced by their actual travel to Britain or Greece or divided in their various allegiances and reactions to national or imperial sovereignty, the poets examined explored the possibilities of a metaphorical diasporic sense of belonging within the multicultural metropolis and created personae to indicate the tension at the contact of the old and the new, the hypocritical parody of mixed breeds and the need for modern heroes to avoid national or gendered stereotypes. The main coordinates were the national voices of W.B. Yeats and Kostes Palamas, T.S. Eliot’s multilingual outlook as an Anglo-American métoikos, C.P. Cavafy’s view as a Greek of the diaspora, displaced William Plomer’s portrayal of 1930s Athens, Demetrios Capetanakis’ journey to the British metropolis, John Lehmann’s antithetical journey eastward, as well as Louis MacNeice’s complex loyalties to a national identity and sense of belonging as an Irish classicist, translator and traveller.Table of ContentsAcknowledgements List of Illustrations Introduction Mr Eugenides in the City Waiting for Barbarians A Philhellene in Athens Cultural Politics of Old Bards A Greek Orlando in London Dreams of Mediterranean Re-birth An Island Temperament Conclusion Bibliography Index

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Book SynopsisThe controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford’s work, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’, Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’, and which has been adapted by Tom Stoppard for the BBC and HBO. Ford’s America, like the other places he wrote about extensively such as England or France, is a place of the imagination as much as the real place in which he lived and travelled. This volume is the first extended treatment of Ford’s lifelong contacts with American literature and culture. It combines contributions from British and American experts on Ford and Modernism. It has five closely inter-connected sections which display, between them, the range of Ford’s creative relationships with American writers and American territory. The first explores the transatlantic dimension of Ford’s modernism, from his involvement with Americans like James and Pound in Britain before the war, through the Paris days among the Americans in the transatlantic review circle such as Hemingway and Stein, to his time in America in the 20s and 30s, and the American care for his reputation after his death. The second section focuses on New York, and the publishing world portrayed in Ford’s only novel set mainly in the US, When the Wicked Man. A third section, discussing culture, politics, and journalism in his writing of the 1930s, is followed by two examples of his commentary on contemporary American culture, both published here for the first time. The final section juxtaposes two examples of the many American writers who have paid tribute to Ford: an essay tracking Robert Lowell’s regular recollections of his encounters with him; and Mary Gordon’s celebration of his life with the Polish-American painter Janice Biala. The volume also contains fourteen illustrations, including artwork by Biala and photographs of Ford.Table of ContentsList of Illustrations Max Saunders: General Editor’s Preface Sara Haslam: Introduction: ‘Dreaming Territory’ Ford’s American Genealogy Joseph Wiesenfarth: War and the Arts: James, Wells and Ford Meghan Marie Hammond: English Review, American Specter: the Critical Attitude Crosses the Atlantic Patrick Deer: ‘Scattered but All Active’: Ford Madox Ford and Transatlantic Modernism Christopher Gogwilt: Ford Madox Ford as Queen Victoria: The English Sovereignty of Impressionist Memory in Ford’s Transatlantic Modernism Seamus O’Malley: America’s Ford: Glenway Wescott, Katherine Anne Porter and Knopf’s Parade’s End New York, Publishing and When the Wicked Man Robert E. McDonough: Does the Wicked Man? Elizabeth O’Connor: Beyond Vengeance: Ford’s When the Wicked Man as a Writerly Response to Jean Rhys Carey Snyder: ‘More Undraped Females and Champagne Glasses’: Ford Madox Ford’s Ambivalent Affair with Mass Culture Illustrations for Sections 2 and 3: Plates 1-4 Culture, Politics and Journalism Gene M. Moore: Great Trade Route and the Legacy of Slavery Nathan Waddell: Technocracy and the Fordian Arts: America, the American Mercury and Music in the 1930s Stephen Rogers: North and South: Ford Madox Ford’s American Journalism During the Great Depression Two Essays by Ford Madox Ford Ford Madox Ford: ‘This Extraordinary Riot of Obscenities’: An Essay on Prudishness and Indecency Ford Madox Ford: From Boston to Denver Writers on Ford Edited by Ashley Chantler: Robert Lowell on Ford Madox Ford Mary Gordon: Ford, Biala and New York: A Novelist’s View Illustrations for Sections 4 and 5: Plates 5-14 Contributors Abstracts Abbreviations Other Volumes in the Series The Ford Madox Ford Society

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Book SynopsisTransgressive Transcripts examines the construction of women’s subjectivity and the textual production of Canadian female voices orchestrated in history, culture, ethnicity, and sexuality. The book, stressing the dissemination and re-inscription of femaleness and femininity in Chinese Canadian history, employs critical models that defy the sexual/textual imaginary of the Canadian literary scene. Four fields of study are conjoined: feminist theories of the body, gender and sexuality studies, women’s writing, and Asian North American studies. Analysing four writers, SKY Lee, Larissa Lai, Lydia Kwa, and Evelyn Lau, the book anchors its thematic and theoretical concern with female sexuality in the context of Chinese Canadian writing. Feminist narratives and gender politics in contemporary Asian North American literature are highlighted via the trope of ‘transgression’.Trade Review"Transgressive Transcripts offers sophisticated readings of recent Chinese Canadian women’s writing as a form of powerful agency that resists stereotypical representations and opens up new possibilities for heterogeneous feminist and queer identity formations. Building on a comprehensive critical overview of the current state of Asian Canadian literary studies, and combining studies of race, ethnicity, sexuality, and gender, the interpretations are illuminating, provocative, and original." – Donald Goellnicht, Professor, Department of English and Cultural Studies, Associate Dean, School of Graduate Studies, McMaster University "This book, a substantial contribution to an understanding of the ways sexuality mediates histories of national and transnational belonging, helps constitute the field of Chinese Canadian women’s writing yet resists turning that writing into an object of knowledge or writers into informants. Of central interest is textual agency and the critical spaces literature opens within minority and feminist studies. Engaging with thorny, silenced issues such as how to write about sexuality and subjectivity, Fu uncovers transcripts subtending dominant culture and unacknowledged within Chinese Canadian culture. Particularly compelling is the analysis of processes of hyper-feminization, desexualization, exoticization, demonization, and abjection that have come to stand phantasmically for Chinese Canadian women’s sexuality." – Lianne Moyes, Professor and Chair, Department of English Studies, Université de MontréalTable of ContentsAcknowledgements Prologue Spatial Transcript: SKY Lee’s Disappearing Moon Café Morphological Transcript: Larissa Lai’s When Fox Is a Thousand Genealogical Transcript: Lydia Kwa’s This Place Called Absence Hypersexual Transcript: Evelyn Lau’s Runaway: Diary of a Street Kid and Inside Out: Reflections on a Life So Far Epilogue Works Cited Index

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Trade Review"Filled with a number of surprising observations, interpretative gestures, and previously unexplored connections […] Fresh insights and new interpretive encounters […] There is much to learn from this volume, while inspiring groundwork is laid for what are sure to be exciting new paths in Beckett scholarship." – Jacob Hovind, Towson UniversityTable of ContentsEarly Modern Beckett/Beckett et le début de l’ère moderne Introduction/Avant-propos I. In Dialogue with Dramatists and Writers/En dialogue avec des auteurs dramatiques et des écrivains Carla Taban: Le Molière de Beckett Angela Moorjani: Beckett’s Racinian Fictions: “Racine and the Modern Novel” Revisited Danièle de Ruyter: Fascination de la tragédie Racinienne: résonances dans Oh les beaux jours Arka Chattopadhyay: “Worst In Need Of Worse”: King Lear, Worstward Ho and the Trajectory of Worsening Julie Campbell: Allegories of Clarity and Obscurity: Bunyan’s The Pilgrim’s Progress and Beckett’s Molloy Seán Kennedy: Edmund Spenser, Famine Memory and the Discontents of Humanism in Endgame Melanie Foehn: A Rhetoric of Discontinuity: On Stylistic Parallels between Pascal’s Pensées and Samuel Beckett’s L’Innommable II. In Dialogue with Philosophers and Artists/En dialogue avec des philosophes et des artistes Yoshiyuki Inoue: Cartesian Mechanics in Beckett’s Fin de Partie Layla M. Roesler: En compagnie d’une métaphysique parodique: Beckett lecteur de Descartes redux Everett C. Frost: Beckett and Geulincx’s Ethics: “…my Geulincx could only be a literary fantasia” Naoya Mori: Beckett’s Faint Cries: Leibniz’s petites perceptions in First Love and Malone Dies Claire Lozier: Présence de la sculpture funéraire des débuts de l’époque moderne dans l’œuvre narrative de Samuel Beckett: du motif artistique religieux à sa laïcisation scripturale Joanne Shaw: Light and Darkness in Elsheimer, Caravaggio, Rembrandt and Beckett Beckett Between/Beckett entre deux Introduction Dúnlaith Bird: Light, Landscape and Beckett James Williams: Beckett between the Words: Punctuation and the Body in the English Prose Alys Moody: The Non-Lieu of Hunger: Post-war Beckett and the Genealogies of Starvation Dirk Van Hulle: The Extended Mind and Multiple Drafts: Beckett’s Models of the Mind and the Postcognitivist Paradigm Everett C. Frost: Beckett and Geulincx’s Metaphysics: “Without knowing why exactly” John Wall: “L’au-delà du dehors-dedans”: Paradox, Space and Movement in Beckett Lea Sinoimeri: “Ill-Told Ill-Heard”: Aurality and Reading in Comment c’est/How It Is Karine Germoni and Pascale Sardin: Tensions of the In-Between: Rhythm, Tonelessness and Lyricism in Fin de partie/Endgame Iain Baily: Beckett, Bilingualism and the Bible Garin Dowd: The Proxemics of “Neither” Contributors/Auteurs

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Book SynopsisMary Elizabeth Braddon, one of the most prolific authors of the Victorian period, remains best known for her sensation fiction, but over the course of a long career contributed to a multitude of literary genres, working as a journalist, short story writer and editor, as well as authoring more than eighty novels. This exciting new collection of essays reappraises Braddon’s work and offers a series of new perspectives on her literary productions. The volume is divided into two parts: the first considers Braddon’s seminal sensation novel, Lady Audley’s Secret; the second examines some of her lesser known fiction, including her first published novel, The Trail of the Serpent, as well as some of her twentieth-century fiction. The first collection of essays on Braddon to appear since 1999, this volume sheds new light on the ‘Queen of the circulating libraries’.Table of ContentsAcknowledgements Jessica Cox: Introduction: Blurring Boundaries: The Fiction of M.E. Braddon New Perspectives on Lady Audley’s Secret Tabitha Sparks: To the Mad-House Born: The Ethics of Exteriority in Lady Audley’s Secret Nancy Knowles and Katherine Hall: Imperial Attitudes in Lady Audley’s Secret Michelle Lin: “To Go Boldly Where No Woman Has Gone Before”: Alicia Audley and the New Woman Grace Wetzel: Homelessness in the Home: Invention, Instability and Insanity in the Domestic Spaces of M.E. Braddon and L.M. Alcott Beyond Lady Audley’s Secret Andrew Mangham: “Drink It Up Dear; It Will Do You Good”: Crime, Toxicology, and The Trail of the Serpent Anne-Marie Beller : Sensational Bildung? Infantilization and Female Maturation in Braddon’s 1860s Novels Juliette Atkinson: To “Serve God and Mammon”: Braddon and Literary Transgression Joanne Knowles: The French Connection: Gender, Morals and National Culture in Braddon's Novels Tamara S. Wagner: Re-Plotting Inheritance: The Triangulation of Legacies and Affinities in The Fatal Three Laurence Talairach-Vielmas: “If I Read Her Right”: Textual Secrets in Thou Art the Man (1894) Kate Mattacks: Sensationalism on Trial: Courtroom Drama and the Image of Respectability in His Darling Sin Carla E. Coleman: “The Stage! Oh, Flora, the Very Idea Frightens Me!”: Representations of Professional Theatre in Rupert Godwin and A Lost Eden Bibliography Notes on Contributors Index

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Book SynopsisThis study examines Defoe’s three-volume Robinson Crusoe series in the light of the ‘banter’ style he developed as a pamphleteer. That heavily ironic style had brought him renown but also put him in the pillory. The present study explores for the first time Defoe’s complaint that readers and pirate abridgers misread his tale of the would-be trader Robinson Crusoe. Using Discourse Analysis and Relevance Theory to examine the early abridgements of Volume I and Defoe’s subsequent two volumes, this study argues that Defoe’s greatest success is also a peculiar failure.Table of ContentsPreface Reading Robinson Crusoe Print Discourse in Defoe’s Day A Long Battle over The Shortest-Way Pirating Robinson Crusoe Robinson Crusoe’s Textual Neighbors What Defoe Lost to the Pirates A World United by Trade Serious Reflections The End of the Debate Bibliography Index

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Book SynopsisScapeland: Writing the Landscape from Diderot’s Salons to the Postmodern Museum is a comparative, interdisciplinary study tracing theories of the sublime and a history of spectatorship from Diderot’s eighteenth-century French Salons, through art criticism by Baudelaire and Breton, to Jean-François Lyotard’s postmodern exhibition Les Immatériaux. In the Salons, an exploration of the painted landscape becomes an encounter with both the limits of representation and the infinite possibilities of fiction. Baudelaire and Breton explore similar limits in their work, set against the backdrop of the modern city. For them, as for Diderot, the attempt to render visual objects in narrative language leads to the development of new literary forms and concerns. Lyotard’s concept of the “postmodern museum” frames the sublime encounter, once again, in terms that expressly evoke Diderot’s verbal rendering of painted spaces as a personal promenade. According to Lyotard, Diderot “ouvre, par écrit, les surfaces des tableaux comme les portes d’une exposition.. . . [il] abolit . . . l’opposition de la nature et de la culture, de la réalité de l’image, du volume et de la surface.” Reading the literary production of these four writers alongside their art criticism, Scapeland considers narrative responses to art as imaginative assertions of human presence against the impersonal world of objects.Table of ContentsAcknowledgments Introduction Landscape and the Sublime, or The Art of Nature “Il faut les voir”: Exhibition Spaces and Immateriality in Diderot’s Salons Baudelaire’s Parisian Cityscape: Charles Meryon and Le Spleen de Paris Mapping the City as Dreamscape: André Breton and le point sublime “Scapeland”: The Sublime and Lyotard’s Les Immatériaux Conclusion Bibliography

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Trade Review"The Dutch Proust Society has done an impressive job in its most recent Annual Bilingual Review […] Done with knowledge and style." – Jack Jordan, Mississippi State UniversityTable of ContentsIntroduction Luc Fraisse: Un témoignage rapproché sur Marcel Proust: la correspondance inédite de Reynaldo Hahn avec les dames Lemaire Wouter van Diepen: Une mise en scène troublante: l’homosexualité dans le cycle d’Albertine Sander Becker: L’oeil léger d’Albertine: source de désir et de souffrance Stéphane Chaudier: Tacts et contacts dans la Recherche Edward Bizub: Ruskin, Ribot, Sollier, Proust: croyance, résurrection et légitimation Nathalie Aubert: Pour une ‘autre’ obscurité: Breton lecteur de Proust Ton Hoenselaars and Ieme van der Poel: The Best Grapes in Paris: annotating Proust for Dutch and Flemish readers Stéphane Heuet: La Recherche en BD Jan Baetens: Marcel Proust en 48 cc Sjef Houppermans: Pompes et uniformes: Proust, film, manga et 1q84 Nell de Hullu-van Doeselaar, Manet van Montfrans et Annelies Schulte Nordholt: Comptes rendus

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Book SynopsisDrawing on the work of Jacques Derrida, Marking Time presents an innovative account of literary time, in which the temporality and ontology of the literary are seen to be essentially intertwined. Individual chapters trace the stakes of this view of time for the status and ‘economy’ of the literary text across five 20th-century writers in French whose work is characterized by a fundamental and searching self-questioning: Maurice Blanchot, Samuel Beckett, Louis-René des Forêts, Pierre Klossowski, and Roger Laporte. A final chapter draws on these analyses to develop an inherently unstable figure of ‘saving time’, which has important repercussions for how we conceive of literary value.Trade Review"L'originalité et l'intérêt de cette étude consiste à considérer la question du temps en rapport avec une économie hétéronome qui est exemplifiée par la logique du "saving time: préserver ou réserver et sauver sans restitution ou sans salut, de manière simultanée." - Idola Quintana Domínguez, Les Lettres romanes "Ian Maclachlan's Marking Time is a very significant critical, theoretical, and scholarly achievement." - Ian James, MHRATable of ContentsAcknowledgements Preface: Questions of literature and time Marking time with Jacques Derrida Différance and the economy of the book The gift and literature’s chance of a future Performative, event, sequence Marking time and narrative time Time returning: Maurice Blanchot Time of the récit Au moment voulu The obstinate time of testimony: Louis-René des Forêts Still time: Samuel Beckett Making time for each other: Pierre Klossowski Fugal time: Roger Laporte Saving time: an invaluable offering Bibliography Index

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Book SynopsisThe sites from which postcolonial cultural articulations develop and the sites at which they are received have undergone profound transformations within the last decades. This book traces the accelerating emergence of cultural crossovers and overlaps in a global perspective and through a variety of disciplinary approaches. It starts from the premise that after the ‘spatial turn’ human action and cultural representations can no longer be grasped as firmly located in or clearly demarcated by territorial entities. The collection of essays investigates postcolonial articulations of various genres and media in their spatiality and locatedness while envisaging acts of location as dynamic cultural processes. It explores the ways in which critical spatial thinking can be made productive: Testing the uses and limitations of ‘translocation’ as an open exploratory model for a critically spatialized postcolonial studies, it covers a wide range of cultural expressions from the anglophone world and beyond – literature, film, TV, photography and other forms of visual art, philosophy, historical memory, and tourism. The extensive introductory chapter charts various facets of spatial thinking from a variety of disciplines, and critically discusses their implications for postcolonial studies. The contributors’ essays range from theoretical interventions into the critical routines of postcolonial criticism to case studies of specific cultural texts, objects, and events reflecting temporal and spatial, material and intellectual, physical and spiritual mobility. What emerges is a fascinating survey of the multiple directions postcolonial translocations can take in the future. This book is aimed at students and scholars of postcolonial literary and cultural studies, diaspora studies, migration studies, transnational studies, globalisation studies, critical space studies, urban studies, film studies, media studies, art history, philosophy, history, and anthropology. Contributors: Diana Brydon, Lars Eckstein, Paloma Fresno-Calleja, Lucia Krämer, Gesa Mackenthun, Thomas Martinek, Sandra Meyer, Therese-M. Meyer, Marga Munkelt, Lynda Ng, Claudia Perner, Katharina Rennhak, Gundo Rial y Costas, Markus Schmitz, Mark Stein, Silke Stroh, Kathy-Ann Tan, Petra Tournay-Theodotou, Daria Tunca, Jessica Voges, Roland Walter, Dirk Wiemann.Trade Review"Wide-ranging in subjects and scope, yet engaging and insightful... Postcolonial Translations is a collection that will certainly encourage scholars to think outside of methods and modes of interpretation considered central to their discipline." - Ruksana Abdul-Majid, University of SheffieldTable of ContentsAcknowledgements Illustrations and Permissions Marga Munkelt, Markus Schmitz, Mark Stein, and Silke Stroh: Introduction: Directions of Translocation – Towards a Critical Spatial Thinking in Postcolonial Studies Conceptual Interventions and Disciplinary Transgressions Diana Brydon: ‘Difficult Forms of Knowing’: Enquiry, Injury, and Translocated Relations of Postcolonial Responsibility Claudia Perner: Dislocating Imagology. And: How Much of It Can (or Should) Be Retrieved? Dirk Wiemann: Distant Reading: Cosmopolitanism as Unconditional Reception Space, Time, and Narration Roland Walter: Transculturation and Narration in the Black Diaspora of the Americas Lucia Krämer: Far Away, So Close: Translocation as Storytelling Principle in Hari Kunzru’s Transmission Gesa Mackenthun: American Antebellum Cosmopolitanism: Herman Melville’s ‘Postcolonial’ Translocations Lynda Ng: Translocal Temporalities in Alexis Wright’s Carpentaria Daria Tunca: “We die only once, and for such a long time”: Approaching Trauma through Translocation in Chris Abani’s Song for Night Translation and Cultural Rewriting Sandra Meyer: “The Story that gave this Land its Life”: The Translocation of Rilke’s Duino Elegies in Amitav Ghosh’s The Hungry Tide Therese–M. Meyer: Reading “Upstream!”: Implications of an Unconsidered Source Text to Julian Barnes’ Eighth Chapter of A History of the World in 10½ Chapters Marga Munkelt: Myths of Rebellion: Translocation and (Cultural) Innovation in Mexican-American Literature Diasporas, Identifications, Resistance Paloma Fresno–Calleja: Trans/locating Pacific Identities: From the Small Island to the Largest Polynesian City in the World Thomas Martinek: Writing (in) the Migrant Space: Discursive Nervousness in Contemporary Nigerian Short Stories Katharina Rennhak: Daljit Nagra’s Look We Have Coming to Dover! and the Limits of the Translocal Petra Tournay–Theodotou: “I love Cyprus but England is my home”: Eve Makis’ Eat Drink and Be Married Jessica Voges: Laughter Movens: Functions and Effects of Laughter in Black British Literature Transmigration: Multiple Migration, and Cultural Transgression Silke Stroh: Theories and Practices of Transmigration: Colonial British Diasporas and the Emergence of Translocal Space Markus Schmitz: Blurring Images: Articulations of Arab-American Crossovers Media and Performance Lars Eckstein: Filming Illegals: Clandestine Translocation and the Representation of Bare Life Gundo Rial y Costas: Translating the American Dream? A Brazilian Vision of the Promised Land Kathy–Ann Tan: Curio(us) Translocations: Site-Specific Interventions in Banglatown, London Notes on Editors and Contributors

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Book SynopsisSpeaking the Earth’s Languages brings together for the first time critical discussions of postcolonial poetics from Australia and Chile. The book crosses multiple languages, landscapes, and disciplines, and draws on a wide range of both oral and written poetries, in order to make strong claims about the importance of ‘a nomad poetics’ – not only for understanding Aboriginal or Mapuche writing practices but, more widely, for the problems confronting contemporary literature and politics in colonized landscapes. The book begins by critiquing canonical examples of non-indigenous postcolonial poetics. Incisive re-readings of two icons of Australian and Chilean poetry, Judith Wright (1915–2000) and Pablo Neruda (1904–1973), provide rich insights into non-indigenous responses to colonization in the wake of modernity. The second half of the book establishes compositional links between Aboriginal and Mapuche poetics, and between such oral and written poetics more generally. The book’s final part develops an ‘emerging synthesis’ of contemporary Aboriginal and Mapuche poetics, with reference to the work of two of the most important avant-garde Aboriginal and Mapuche poets of recent times, Lionel Fogarty (1958–) and Paulo Huirimilla (1973–). Speaking the Earth’s Languages uses these fascinating links between Aboriginal and Mapuche poetics as the basis of a deliberately nomadic, open-ended theory for an Australian–Chilean postcolonial poetics. “The central argument of this book,” the author writes, “is that a nomadic poetics is essential for a genuinely postcolonial form of habitation, or a habitation of colonized landscapes that doesn’t continue to replicate colonialist ideologies involving indigenous dispossession and environmental exploitation.”Trade Review"A unique and memorable book. The result of sustained fieldwork and research, and also of deep and conscientious engagement with individual writers, their cultures, histories, literatures and communities." – Bridie McCarthy, Deakin UniversityTable of ContentsAcknowledgements List of Figures Notes on the Translations Foreword Where to Begin? Judith Wright and the Limits of Her Tradition Pablo Neruda and Complex Topography Reading Complexity Leonel Lienlaf and the Potential of Song Paddy Roe’s Nomad Poetic The Non-Limited Locality: Paulo Huirimilla with Lionel Fogarty Imagining Syntheses Coda Appendix A: An Introduction to Mapuche Poetry Appendix B: “Ríos de cisnes,” by Paulo Huirimilla Works Cited Index

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Book SynopsisCollage Culture develops a comprehensive theory of the origins and meanings of collage and readymades in modern and postmodern art, literature, and everyday life. Demonstrating that the origins of collage are found in assembly line technologies and mass media forms of layout and advertising in early twentieth-century newspapers, Collage Culture traces how the historical avant-garde turns the fragmentation of Fordist production against nationalist, fascist, and capitalist ideologies, using the radical potential unleashed by new technologies to produce critical collages. David Banash adeptly surveys the reinvention of collage by a generation of postmodern artists who develop new forms including cut-ups, sampling, zines, plagiarism, and copying to cope with the banalities and demands of consumer culture. Banash argues that collage mirrors the profoundly dialectical relations between the cut of assembly lines and the readymades of consumerism even as its cutting-edges move against the imperatives of passive consumption and disposability instituted by those technologies, forms, and relations. Collage Culture surveys and analyzes works of advertising, assemblage, film, literature, music, painting, and photography from the historical avant-garde to the most recent developments of postmodernism.Trade ReviewThe Design Observer published an interview with David Banash on Collage Culture – an inspiring introduction to the book.Table of ContentsAcknowledgments Introduction Fragments: Production, Consumption, and the Readymade Invention: Newspapers, Advertising, and the Origins of Collage Critique: Collage and the Politics of the Cut Nostalgia: Collage, Collecting and the Paste Gleaning: Everyday Life in Collage Culture Conclusion: From the Twentieth-Century’s Cutting Edge to the Twenty-First-Century Copy Notes Bibliography Image Credits Index

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Book SynopsisDivine Doctors and Dreadful Distempers examines the discourse of seventeenth-century English physicians to demonstrate that physicians utilized cultural attitudes and beliefs to create medical theory. They meshed moralism with medicine to self-fashion an image of themselves as knowledgeable health experts whose education assured good judgment and sage advice, and whose interest in the health of their patients surpassed the peddling of a single nostrum to everyone. The combination of morality with medicine gave them the support of the influential godly in society because physicians’ theories about disease and its prevention supported contemporary concerns that sinfulness was rampant. Particularly disturbing to the godly were sins deemed most threatening to the social order: lasciviousness, ungodliness, and unruliness, all of which were most clearly and threateningly manifested in the urban poor. Physicians’ medical theories and suggestions for curbing some of the most feared and destructive diseases in the seventeenth century, most notably plague and syphilis, focused on reforming or incarcerating the sick and sinful poor. Doing so helped propel physicians to an elevated position in the hierarchy of healers competing for patients in seventeenth-century England.Table of ContentsAcknowledgements Introduction: ‘Physick keeps her very bare’: Why Would Anyone See a Doctor in the Seventeenth Century? Part I: The Doctors ‘God heals, and the Doctor takes the fee’: Combatting the Negative Reputation ‘A Sacred Anatomy Both of Soul and Body’: Godly Physicians in Sermon Literature ‘Medling Fops’ with their ‘Gaggling Goose-quils’: The Competition ‘Every man his own doctor’: Physicians and the Printing Boom Part II: The Distempers ‘A Christian’s Groans Under the Body of Sin’: The Pox and the Pious Physician ‘The Baneful Source of all our Woe’: Poxed Women and Public Health ‘A Broom in the Hand of the Almighty’: The Plague and the Unruly Poor Conclusion Bibliography Index

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Book SynopsisThe Legacy of Opera: Reading Music Theatre as Experience and Performance is the first volume in a series of books compiled by the Music Theatre Working Group of the International Federation for Theatre Research. The series explores the widening of the meaning of the term “music theatre” to reflect new ways of thinking about this creative practice beyond the genres circumscribed by discourses of theatre studies and musicology. Specifically it interrogates the experience of music theatre and its performance energies for contemporary audiences who engage with the emergence of new expressive idioms, new performative paradigms, new technologies and new ways of thinking. The Legacy of Opera considers some of the ways in which opera’s influence has informed our understanding of and approach to the musical stage, from the multiple perspectives of the ideological, historical, corporeal and artistic. With contributions from international scholars in music theatre, its chapters explore both canonic and experimental examples of music theatre, spanning a period from the seventeenth century to the present day.Table of ContentsAcknowledgments List of illustrations Dominic Symonds and Pamela Karantonis: Empty houses, booming voices Bianca Michaels: Is this still opera? Media operas as productive provocations Nicholas Till: A new glimmer of light: Opera, metaphysics and mimesis Sarah Nancy: The singing body in the Tragédie Lyrique of seventeenth- and eighteenth-century France: Voice, theatre, speech, pleasure Clemens Risi: Performing affect in seventeenth-century opera: Process, reception, transgression Magnus Tessing Schneider: The Violettas of Patti, Muzio and Callas: Style, interpretation and the question of legacy Pamela Karantonis: The tenor in decline? Narratives of nostalgia and the performativity of the operatic tenor Michael Eigtved: The Threepenny Opera: Performativity and the Brechtian presence between music and theatre Jeongwon Joe: The acousmêtre on stage and screen: The power of the bodiless voice David Roesner: Dancing in the twilight: On the borders of music and the scenic Pieter Verstraete: Turkish post-migrant “opera” in Europe: A socio-historical perspective on aurality Dominic Symonds: “Powerful spirit”: Notes on some practice as research Abstracts Notes on contributors Bibliography Index

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Book SynopsisThis book, the first cross-cultural study of post-1970s anglophone Canadian and American multi-ethnic drama, invites assessment of the thematic and aesthetic contributions of this theater in today’s globalized culture. A growing number of playwrights of African, South and East Asian, and First Nations heritage have engaged with manifold socio-political and aesthetic issues in experimental works combining formal features of more classical European dramatic traditions with such elements of ethnic culture as ancestral music and dance, to interrogate the very concepts of theatricality and canonicity. Their “mouths on fire” (August Wilson), these playwrights contest stereotyped notions of authenticity. In¬spired by songs of anger, passion, experience, survival, and regeneration, the plays analyzed bespeak a burning desire to break the silence, to heal and empower. Foregrounding questions of hybridity, diaspora, cultural memory, and nation, this comparative study includes discussion of some twenty-five case studies of plays by such authors as M.J. Kang, August Wilson, Suzan–Lori Parks, Djanet Sears, Chay Yew, Padma Viswanathan, Rana Bose, Diane Glancy, and Drew Hayden Taylor. Through its cross-cultural and cross-national prism, “Mouths on Fire with Songs” shows that multi-ethnic drama is one of the most diverse and dynamic sites of cultural production in North America today.Trade Review"De Wagter most productively examines how playwrights of color negotiate the boundaries of ethnic, national, and cultural identities. A major innovation of her study is its comparative and transnational exploration of how authors engage with difference and hybridity to challenge the status quo and imagine possible social transformations." – Harry J. Elam, Jr., Professor of Drama, Stanford University "In her groundbreaking comparative study, De Wagter offers a detailed examination of contemporary multi-ethnic drama in Canada and the USA. As her perceptive cross-cultural analyses demonstrate, the North American stage can boast some of the most aesthetically sophisticated and politically vibrant theatre of our age." – Marc Maufort, Professeur ordinaire, Université Libre de BruxellesTable of ContentsAcknowledgments Introduction Staging Hybridity on the North American Scene Shattering the North American Dream: Testimonies and Experiences Cultural Memory in North American Drama Performing Imagined Communities Conclusion: Millennial Vistas Works Cited Index

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Book SynopsisFictions written between 1939 and 2005 by indigenous and white (post)colonial women writers emerging from an African–European cultural experience form the focus of this study. Their voyages into the European diasporic space in Africa are important for conveying how African women’s literature is situated in relation to colonialism. Notwithstanding the centrality of African literature in the new postcolonial literatures in English, the accomplishments of the indigenous writer Grace Ogot have been eclipsed by the critical attention given to her male counterparts, while Elspeth Huxley, Barbara Kimenye, and Marjorie Oludhe Macgoye, who are of Western cultural provenance but adopt an African perspective, are not accommodated by the genre of ‘expatriate literature’. The present study of both indigenous and white (post)colonial women’s narratives that are common to both categories fills this gap. Focused on the representation of gender, identity, culture, and the ‘Other’, the texts selected are set in Kenya and Uganda, and a main concern is with the extent to which they are influenced by setting and intercultural influences. The ‘African’ woman’s creation of textuality is at once the expression of female individualities and a transgression of boundaries. The particular category of fiction for children as written by Kimenye and Macgoye reveals the configuration of a voice and identity for the female ‘Other’ and writer which enables a subversive renegotiation of identity in the face of patriarchal traditions.Table of ContentsAcknowledgements Introduction Agency, Voice, and Sense of Self: Re-Writing African Women’s Identity Space and ‘African’ Women Writers Woman, the Visitor: Re-Presenting the Female Authorial Voice Delineating the Position of African Women Creative Dialogue, Signification, Gender, and Space: Talking Through Contemporary Children’s Stories Conclusion Works Cited Index

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Book SynopsisThis volume of original essays celebrates Barbara Becker-Cantarino, whose prolific publications on German literary culture from 1600 to the twentieth century are major milestones in the field of German cultural studies. The range of topics in the collection reflects the breadth of Becker-Cantarino’s scholarship. Examining literature from the sixteenth to the twenty-first centuries, the contributors explore the intersections of gender, race, and genre, history and gender, and gender and violence. They provide fresh readings of the works of known and lesser-known writers, including Cyriacus Spangenberg, Maria Anna Sager, Luise Gottsched, Heinrich von Kleist, Frank Wedekind, Christa Wolf, Helga Schütz, Terézia Mora, and Martina Hefter. Their discussions explore the possibilities and limitations of theoretical discourses on travel literature, deconstruction, and gender and suggest new avenues of investigation.Table of ContentsJohn Pustejovsky: The Experience of Words. A Tribute to Barbara Becker-Cantarino Katherine Goodman: Luise Gottsched, Freethinker Stefanie Stockhorst: Schwangerschaft und Geburt in der ‘schönen’ Literatur. Überlegungen zum Funktionswandel eines Motivs Helga Meise: Dispositive der Macht in Maria Anna Sager Die verwechselten Töchter (1771) und Karolinens Tagebuch (1774) Theodore Ziolkowski: Recent German Literature: ‘Romantic’ or ‘romantic’? Ursula Kocher: Transferleistungen: Formen des Traditionsverhaltens bei Paul Fleming Anna Grotans, Berit Jany, Kathryn Corl, and Annett Krause: The Gruber Manuscript: Alms, Books and the New World Gaby Pailer: Gewalt, Geschlecht und die Kunst der Novelle: Boccaccio, Schiller und Kleist Gregory H. Wolf: The Desire to Control Death: Heinrich von Kleist’s Epistolary Correspondence on Schicksal, Tod and Selbstmord Helen Watanabe-O’Kelly: “Meine liebe Mutter.” Cyriacus Spangenberg and his Treatise on “WeiberAdel” (1591) Stephanie E. Libbon: Revamping Frank Wedekind’s Prostitutes. A Liberating Re-Creation or Male Recreation? Christiane Caemmerer: Die Schäferliteratur und die Frauen Elke Frederiksen: Journeys Across Continents – Writing Across Borders. From Europe to Africa – from Africa to Europe Rachel J. Halverson: Living in the Moment, Reflecting on the Past: Exploring Loss, Language, and Identity in Martina Hefter’s Zurück auf Los and Die Küsten der Berge Marie-Luise Gättens: Eingemauert: Helga Schütz, Grenze zum gestrigen Tag Monika Shafi: “Mit der Wende kam der Appetit”: Work, Food, and Gender in Terézia Mora’s Der einzige Mann auf dem Kontinent Alexander Schwarz: Körper, Gender, Eulenspiegel Publications by Barbara Becker-Cantarino Index of Names

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Book SynopsisDon Quijote and Le Berger extravagant criticize fiction but come in the shape of novels. Far from breaking with their respective traditions, they engage with the chivalric and the pastoral in a creative manner. Genre and imitation are key notions for situating these novels in literary history and in the œuvres of Cervantes and Sorel. With emphasis on the continuity of each writer’s approach, Le Berger extravagant is considered in the context of Sorel’s aim to educate readers and avoid romance stereotypes, while the Quijote is read as an individual take on the chivalric novel, rejecting the Spanish tradition in favor of the ironic Italian romanzo cavalleresco. Like Cervantes’ Galatea and Persiles, Don Quijote reflects a specific tradition which in turn serves to illuminate the famous book. This study offers interpretations of the two novels, but extends its scope toward the authors’ other works and additional contemporary sources including Avellaneda’s 1614 continuation of Don Quijote.Trade Review“Syrovy gelingt es, erhellende Schlaglichter zu werfen in jene Auseinandersetzungen in der ersten Hälfte des 17. Jh.s, in denen dem Roman seine Unwahrscheinlichkeit vorgeworfen wurde, in dem er moralisch zu sein hatte, in dem sich die Frage nach der imitatio noch im engen aristotelischen Sinne stellte und die erzählerische Konvention verschrien war. Syrovy stellt sich dabei der Bedingtheit einer nationalgeschichtlich angelegten Quellenforschung ebenso wie dem Problem, warum ausgerechnet ein experimenteller Autor wie Sorel sich für eine Literaturdidaxe stark machen konnte, die neben der moralischen Nützlichkeit der Romangattung ein rigoroses Zensursystem des Literaturbetriebs vorsah.” – Frank Estelmann (Universität Mainz), in Literaturkritik.de (2014) Full text available: http://www.literaturkritik.de/public/rezension.php?rez_id=19087Table of ContentsPreface Part I: Charles Sorel’s Berger extravagant By way of introduction: An early testimony A brief word on method Sorel’s poetics Utilitas Berger extravagant and Anti-Roman The genre of the novel(s) The structure of the Berger extravagant The meaning of the Anti-Roman Charles Sorel, novelist; or, the quest for vraisemblance Conclusion: Novel or treatise? Part II: Cervantes’ Don Quijote Principles of method First solution: Don Quijote as criticism Cervantes’ stylistic tradition Humor and genre Cervantes and genre Don Quijote as a chivalric romance Part III: The Larger Picture Backgrounds Cervantes and Avellaneda Sorel’s Polyandre, a new histoire comique Conclusion: Genre and ‘Parody’ Appendix: A Problem of Terminology Bibliography Index

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Book SynopsisWandering into Brave New World explores the historical contexts and contemporary sources of Aldous Huxley’s 1932 novel which, seventy years after its initial publication remains the best known and most discussed dystopian work of the twentieth century. This new study addresses a number of questions which still remain open. Did his round-the-world trip in 1925-1926 provide material for the novel? Did India’s caste system contribute to the novel’s human levels? Is there an overarching pattern to the names of the novel/s characters? Has the role of Hollywood in the novel been underestimated? Is Lenina Crown a representative 1920s “flapper”? Did Huxley have knowledge of and sources for his Indian reservation characters and scenes quite independent of and more accurate than those of D. H. Lawrence’s writings? Did Huxley’s visit to Borneo contribute anything to the novel? New research allows substantive answers and even explains why Huxley linked such figures as Henry Ford and Sigmund Freud. It also shows how the novel overcomes its intense grounding in 1920s political turmoil to escape into the timelessness of dystopian fiction.Table of ContentsAcknowledgments Around the World in 264 Days Traversing the Raj The Dangers of Ford and Freud Three Days in Joy City Encountering the Hopi and the Zuni Naming but Not Libeling Bibliography Index

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Book SynopsisThis book manifests at least four recent shifts and tendencies within Modernist studies in general that point at the expansion of this increasingly interdisciplinary field. First, Modernist studies has seen a temporal expansion, to the extent that scholars in the field have come to turn to both the pre- and posterior history of Modernism. Second, the field has witnessed a spatial expansion, in that increasingly so researchers have also come to scrutinize the Modernisms of regions at the fringes of Europe, and beyond. Thirdly, a vertical expansion too has marked Modernist studies in recent decades, not only by further expanding the canon of women writers and exploring the continuum between high- and lowbrow, but also by looking at the artistic and mediatized hierarchies and cross-fertilizations operative in the period. A fourth conceptual expansion of the field shows that whereas concepts such as “middlebrow”, “arrière-garde”, and to some extent even “avant-garde”, were once exotic notions of at best marginal importance in European Modernist studies, they now form part and parcel of the field, complicating and expanding it conceptually.Table of ContentsSascha Bru and Dirk de Geest: What Modernism Was and Is: By Way of an Introduction Hans Bertens: Towards Modernism Peter Liebregts: “The World Is a Fine Adventurous Place”: Graham Greene in the 1930s Sjef Houppermans: Sorties or Entrenchment: Roussel, Crevel and Aragon between Avant-garde and Arrière-garde Jacqueline Bel: Intellectual Scepticism versus Avant-garde Bragging: Modernism in Dutch Literature Geert Buelens: “The Final Catholic”: Paul van Ostaijen, and the Catholic Réveil around the First World War Koen Rymenants, Tom Sintobin and Pieter Verstraeten: Arrière-garde Perspectives on the History of Modern Literature: The Case of the Netherlands (1880-1940) Arthur Langeveld: How Modernism Disappeared from Fedor Gladkov’s Cement between 1924 and 1958 Otto Boele: Biocosmism and the Russian Avant-garde: A Literary Cul-de-sac or the Road to Immortality? Paulo de Medeiros: Ten Times Pessoa Hero Hokwerda: Modernism in Greek Literature (1910-1940) Jan Baetens: Fun Home: Ithaca, Pennsylvania Peter Verstraten: A Modernist “Attempt at Cinema”: The “Impurity” of Pierrot le Fou Peter de Voogd: Modernism and the Art of Printing: transition and Carolus Verhulst Marcel Cobussen: The (Post)Modern Music of Edgard Varèse Notes on Contributors Index

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Book SynopsisThis essay collection embarks on a historical voyage into the idea of the West, while contextualising its relevance to the contemporary discourses on cultural difference. Although the idea of the West predates both colonial and Orientalist projects, it has been radically reshaped by the fall of the Berlin Wall in 1989, the end of the Cold War and the 9/11 attacks. In the wake of these developments, this collection attends to the nebulous paradigm shifts that account for a reconfiguration of the conventional coordinates of the West (West vs. Rest, Orient vs. Occident). The essays featured in this collection draw upon a wide range of theories from a comparative perspective. Taken together, the collection covers a vast terrain of textual and non-textual sources, including novels, political and poetological programs, video-clips and hypertexts, while exploring the formal-aesthetic representations of the West from interdisciplinary perspectives as diverse as German classicism, (post-)modern Britain, Canada, China, Ireland and the postcolonial world.Table of ContentsAleida Assmann: Vorwort Ines Detmers and Birte Heidemann: Einleitung: Annäherungen an den Westen Projekte, Praktiken, Prozesse Anil Bhatti: Der Orient als Experimentierfeld. Goethes Divan und der Aneignungsprozess kolonialen Wissens Katrin Schmeißner: Goethe als Korrektiv: Klassiker-Entwürfe Benedetto Croces und José Ortega y Gassets Kathleen Starck: A Lot of Catching Up to Do – The West as a Civiliser of Post-Cold War Eastern Europe in Rose Tremain’s The Road Home Oliver Lindner: The End of the West in Contemporary Anglophone Fiction Michael Ostheimer: Im Zeichen des Wolfs. Die Schriftsteller Jiang Rong und Lu Xun als Grenzgänger zwischen chinesischer Tradition und westlicher Moderne Susan Nitzsche: Regional (Re)Conceptions of the Irish West Malreddy Pavan Kumar: Pulp, Sci-fi and the Politics of Other Fictions: Face to Face with Mohsin Hamid Birte Heidemann: Embodiments of the West: Texture and Textuality of the Symbolic Body in Mohsin Hamid’s The Reluctant Fundamentalist Niven Kumar & Lucyna Swiatek: Contradictions of Human Agency from Victorian Cosmopolitanism to Postmodern Eclecticism Denis Simon: New Narrative Forms as a Subversion of Established Literary Norms: Walter Pater’s Marius the Epicurean and the Negative Bildungsroman of the 1880s and 1890s Ines Detmers: ‘Look West in Anger’: Exklusive Emotopien in Christian Krachts 1979 und Salman Rushdies Fury. Ein Beitrag zur Affektpoetik des neo-dekadenten Romans Ana Sobral: Towards a ‘World Revolution’? Forging a Transnational Emancipation Narrative from Tahrir Square to Wall Street Notes on Contributors

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Book SynopsisCe recueil explore les relations mouvantes entre hommes et animaux, aussi bien réels que fantastiques, dans la France médiévale, dans une perspective interdisciplinaire. This is the first volume that explores the changing relationships between humans and animals, both real and fantastic, in medieval France, from a completely interdisciplinary perspective.Table of ContentsIrène Fabry-Tehranchi: Introduction: la relation entre l’humain et l’animal dans la France médiévale I – Penser l’humanité et l’animalité: des distinctions problématiques / Thinking through Humanity and Animality: Problematic Distinctions Peggy McCracken: The Wild Man and His Kin in Tristan de Nanteuil Robert S. Sturges: The Raw and the Cooked in Le Roman de Silence: Merlin at the Limit of the Human Evelyn Birge Vitz: Animal and Human Emotions in Le Roman de Renart II – Mises en scène littéraires et artistiques du contact entre l’humain et l’animal / Literary and Artistic Depictions of the Contact between Humans and Animals Joanna Pavlevski: Une esthétique originale du motif de la femme-serpent: recherches ontologiques et picturales sur Mélusine au XVe siècle Katherine Clark: Animals on the Edge: Humans and Hybrids in a Late Medieval Pontifical from Avignon (Bibliothèque Sainte-Geneviève 143) III – L’humain et l’animal au croisement des cultures religieuse et profane / Human and Animal at the Intersection of Religious and Secular Cultures Constantin Teleanu: La redéfinition du sujet humain de l’Art de Raymond Lulle entre 1290 et 1300 Patricia Stewart: The Bestiary as a Source of Sermon Exempla: the Case of Paris, BnF lat. 15971 Dongmyung Ahn: Beastly yet Lofty Burdens: The Donkey and the Subdeacon in the Middle Ages IV – Présence et représentations de l’animal dans la société de la fin du Moyen Age / Presence and Representations of Animals in Late Medieval Society Henri Simonneau: Le léopard et le coucou: La figure animale dans les textes de propagande français à la fin du Moyen ge William Blanc: “Alors sailly un serf!”: une chasse royale en plein Paris (1431) Benoit Descamps: “Chairs loyales et déloyales”: les animaux de boucherie dans les règlements de métiers urbains à la fin du Moyen ge Nathalie Le Luel: Conclusion: Animalité et humanité, des rapports remis en question Bibliographie

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