Search results for ""fairleigh dickinson university press""

What forms can religious experience take in a world without cult or creed? Organized religion is notably absent from J. R. R. Tolkien's Secondary Universe of elves, dwarves, men and hobbits despite the author's own deep Catholic faith. Tolkien stated that his goal was 'sub-creating' a universe whose natural form of religion would not directly contradict Catholic theology. Essays in Light Beyond All Shadows examine the full sweep of Tolkien's legendarium, not only The Lord of the Rings but also The Hobbit, The Silmarillion and The History of Middle-Earth series plus Peter Jackson's film trilogy. Contributions to Light Beyond All Shadows probe both the mind of the maker and the world he made to uncover some of his fictional strategies, such as communicating through imagery. They suggest that Tolkien's Catholic imagination was shaped by the visual appeal of his church's worship and iconography. They seek other influences in St. Ignatius Loyola's meditation technique and St. Philip Neri's 'Mediterranean' style of Catholicism. They propose that Tolkien communicates his story through Biblical typology familiar in the Middle Ages as well as mythic imagery with both Christian and pagan resonances. They defend his 'comedy of grace' from charges of occultism and Manichaean dualism. They analyze Tolkien's Christian friends the Inklings as a supportive literary community. They show that within Tolkien's world, Nature is the Creator's first book of revelation. Like its earlier companion volume, The Ring and the Cross, edited by Paul E. Kerry, scholarship gathered in Light Beyond All Shadows aids appreciation of what is real, meaningful, and truthful in Tolkien's work.

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Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou’s The True Saint Genesius with Jean-Paul Sartre’s Kean and Jean Genet’s The Blacks; Pierre Corneille’s L’Illusion comique with Tony Kushner’s The Illusion; Gian Lorenzo Bernini’s The Impresario with Luigi Pirandello’s theater-in-theater trilogy; Shakespeare’s Hamlet with Pirandello’s Henry IV and Tom Stoppard’s Rosencrantz and Guildenstern are Dead; Molière’s Impromptu de Versailles with “impromptus” by Jean Cocteau, Jean Giraudoux, and Eugène Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.

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Louis Trezevant Wigfall was a violent, mercurial man. He participated in multiple duels, wounding one opponent and killing another. In an outburst on the floor of the U.S. Senate, Wigfall called upon a Brutus to assassinate Texas governor Sam Houston. During the bombardment of Fort Sumter in 1861, Wigfall rowed out to the fort and arranged its surrender. While still in the U.S. Senate, Wigfall committed treason by operating a station to recruit soldiers for the Confederacy by supplying arms to seceded states and by forwarding information on Union decisions and movements. Wigfall’s oratorical skills convinced Southern ruling classes there was nothing to fear by seceding. He assured them that the North would not fight, that they could not blockade southern ports, that Europe needed Southern cotton, and that England would aid the Confederacy. Wigfall was able to convince Southern states to secede. In this succinct biography of Wigfall, Edward S. Cooper discusses how this violent and mercurial man contributed to the disintegration of the Union and why he was a primary factor in the collapse of the Confederacy.

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The Exile in the Maghreb entails the first attempt at describing the historical reality of the legal and social condition of the Jews in the Muslim countries of North Africa (principally Algeria and Morocco) over a thousand year period from the Middle Ages (997 C.E.) to the French colonization (1830 Algeria/1912 Morocco.). The Exile is not a formal history but a chronological anthology of documents drawn from literary (section A) and archival sources (section B), many of which are published for the first time. In section A, Arabic and Hebrew chronicles, Muslim legal, and theological texts are followed by the accounts culled from European travelers—captives, diplomats, doctors, clerics, and adventurers. Each document is introduced and annotated in such a way as to bring out its importance. The second section (B) reflects the diplomatic activity deployed by humanitarian organizations in favour of North African Jewry. Spanning the 19th and early 20th centuries, these are mainly drawn from the archives of the Alliance Israélite Universelle (Paris) and the Anglo-Jewish Association (London). The documents are richly elucidated with illustrations taken from the international press. The book presents a new and illuminating insight into the status of Jews under the Crescent. The Jews of North Africa were the only minority under Islam, in this region and their history reflects Judaism's exclusive encounter with Islam.

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Caribbean Ghostwriting addresses a question central to the fields of postcolonial, feminist, and African diasporic studies:how are we to know the colonial past when the lives of colonized and enslaved people were largely written out of history? Caribbean authors Michelle Cliff, Maryse Conde, and Dionne Brand address the silences and gaps of historiography by fleshing out overlooked historical figures in literary form. These authors do not simply reconstruct lost lives, but rather they foreground the tension between the real, material traces of peoples lives and the fact of their erasure. In novels that are at once historical, biographical, and artistic, they portray real but sparsely documented and therefore haunting histories through a strategy identifiable as ghostwriting. Erica L. Johnson defines ghostwriting as an important genre of Caribbean literature through which authors literally ghostwrite stories for lost historical figures even while they poetically preserve the unspeakable nature of the archival lacunae their novels engage.

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Empiricism, one of Raymond Williams's keywords, circulates in much contemporary thought and criticism solely as a term of censure, a synonym for spurious objectivity or positivism. Yet rarely, if ever, has it had this philosophical implication. Dr. Johnson, it should be recalled, kicked the stone precisely to expose empiricism's baroque falsifications of common sense. In an effort to restore historical depth to this term, this book examines epistemology in the narrative prose of five writers, John Rushkin, Alexander Bain, G. H. Lewes, Herbert Spencer, and George Eliot, developing the view that the flourishing of nineteenth-century scientific culture occured at a time when empiricism itself was critically dismantling any such naive representationalism.

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This book scrutinizes the genre of the author-as-character with respect to three broad issues–authorship, the posthumous, and cultural revisionism–that arise in reading such works from a contemporary perspective. Late twentieth-century fiction 'postmodernizes' romantic and modern authors not only to understand them better, but also to understand itself in relation to a past (literary tradition, aesthetic paradigms, cultural formations, etc.) that has not really passed. Penelope Fitzgerald's 'The Blue Flower', Peter Ackroyd's 'The Last Testament of Oscar Wilde and Chatterton', Peter Carey's 'Jack Maggs', Michael Cunningham's 'The Hours', Colm Toibin's 'The Master', and Geoff Dyer's 'Out of Sheer Rage: Wrestling with D. H. Lawrence - 'the mighty dead' (Harold Bloom) are brought back to life, reanimated and bodied forth in new textual bodies that project a postmodern understanding of the author as a historically and culturally contingent subjectivity constructed along the lines of gender, sexual orientation, class, and nationality.

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This is a study of the changing relationship between two of the most important political figures of the first decades of the twentieth century. The author contrasts their backgrounds and training, their mind-sets, and their understanding of the power of the president to understand how they came to a parting of the ways.

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This study analyzes British wartime cinema, offering extended examination of a wide selection of feature films and documentaries made in Britain between 1939 and 1946, and using textual analyses of these films to explore the historical, social, and cultural context of social class in Britain within the overall situation of `total war’ and its concomitant propaganda imperative of `The People’s War.’ Includes 20 photos.

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Blind seer, articulate dead, and mythic transsexual, the figure of Tiresias has always represented a liminal identity and forms of knowledge associated with the crossing of epistemological and ontological boundaries. In twentieth-century literature, the boundaries crossed and embodied by Tiresias are primarily sexual, and the liminal and usually prophetic knowledge associated with Tiresias is based in sexual difference and sexual pleasure. Indeed, in literature of the twentieth century, Tiresias has.com e to function as a cultural shorthand for queer sexualties. This book argues for the emergence of a Tiresian poetics at the end of the nineteenth century. As Victorian and modernist writers re-imagined Ovid's tale of sex change and sexual judgment, they also created a poetics that grounded artistic or performance power in figures of sexual difference- most often a feminized, often homosexual male body, which this study links to the developing discourses of homosexuality and sexual identity. This study reconstructs the cultural history of this transsexual figure through readings of work by late Victorian and modernist writers Edith Cooper and Katharine Bradley, who collaborated using the pen name 'Michael Field', and whose work may inaugurate the shift in Tiresian mythographies; T.S. Eliot, whose poem The Waste Land includes arguably the most well-known uses of Tiresias in modern English Literature; Djuna Barnes, whose queer Irish-American Tiresias provides an insistent voice of sexual and social marginalization; and Irish poet Austin Clarke who set out to revise Eliot's use of Tiresias but ended up narrating a myth of sexual panic. The book also examines work by writers whose use of Tiresian figures consistently linked sexual differences, especially homosexuality, to forms of performative, poetic, and aesthetic power. If The Waste Land established Tiresias as a figure of modernist textual and sexual ambiguity, this book displaces that canonically central representation into a more complex tra

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While recent works of criticism on Frank O'Hara have focused on the technical similarities between his poetry and painting, or between his use of language and poststructuralism, Frank O'Hara and the Poetics of Saying 'I' argues that what is most significant in O'Hara's work is not such much his "borrowing" from painters or his proto-Derridean use of language, but his preoccupation with self exploration and the temporal effects of his work as artifacts. Following Pasternak's understanding of artistic inspiration as an act of love for the material world, O'Hara explores moments of experience in an effort to both complicate and enrich our experience of the material world. On the one hand, in poems such as Second Avenue, for example, O'Hara works to "muddy" language through which experience is, in part, mediated with the use of parataxis, allusions, and absurd metaphors and similes. On the other, in his "I do this I do that" poems, he names the events of his lunch hour in an effort, among other things, to experience time as a moment of fullness rather than as a moment of loss. The book argues, furthermore, that O'Hara's view of the self as both an expression of the creative force at work in the world and as the temporal aggregate of finite experiences, places him between so-called "Romantic" and "postmodern" theories of the lyric. While it is often argued that O'Hara is a forerunner of a new, critically informed, "materialist" poetics, this study concludes that O'Hara's work is somewhat less radical in its understanding of poetic meaning than is often claimed. Moreover, while O'Hara is preoccupied with his experience in his poems, the book argues that he espouses, in some respects, a rather traditional view of love. In addition to being a metaphor for the creative act, love, for O'Hara, is the chance coming together of two entities. Yet, one of the ironies of this is that while love is, for O'Hara, a feeling that is the result of movement, or the unexpected coming together of two otherwise separ

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The Carlyle Encyclopedia is the new standard, single-volume reference work on Thomas and Jane Welsh Carlyle. It offers concise, detailed accounts of central issues related to the Carlyles’ lives and writings, and provides bibliographic citations that direct the reader’s attention to a wide range of additional sources.

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New Modernist Studies, while reviving and revitalizing modernist studies through lively, scholarly debate about historicity, aesthetics, politics, and genres, is struggling with important questions concerning the delineation that makes discussion fruitful and possible. This volume aims to explore and clarify the position of the so-called ‘core’ of literary modernism in its seminal engagement with the Great War. In studying the years of the Great War, we find ourselves once more studying ‘the giants,’ about whom there is so much more to say, as well as adding hitherto marginalized writers – and a few visual artists – to the canon. The contention here is that these war years were seminal to the development of a distinguishable literary practice which is called ‘modernism,’ but perhaps could be further delineated as ‘Great War modernism,’ a practice whose aesthetic merits can be addressed through formal analysis. This collection of essays offers new insight into canonical British/American/European modernism of the Great War period using the critical tools of contemporary, expansionist modernist studies. By focusing on war, and on the experience of the soldier and of those dealing with issues of war and survival, these studies link the unique forms of expression found in modernism with the fragmented, violent, and traumatic experience of the time.

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This volume traces the development of the College Board as an organization and its varying attempts to adapt to the changing demands of society. The first major study of the history of the organization done in a half century, this book traces the College Board (the College Entrance Examination Board) from its origins as a set of admissions essays endorsed by some college presidents and headmasters in the east.

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This study is the first comprehensive, full-length account of the works of the Anglo-Jewish author Leonard William Merrick formerly Miller, (1864-1939). Drawing on unpublished materials, it covers Merricks twelve novels, his several volumes of short stories, eight plays, and contributions to motion pictures. A former actor, Merrick often wrote about actors; George Orwell regards Merricks fiction about the theater as the best of its time, especially The Passion of Peggy Harper (1911). H. G. Wells applauded Merricks depiction of racism in The Quaint Companions (1903). Anti-Semitism is shown in Violet Moses (1891). Mr. Bazalgettes Agent (1888) is the first novel in English to star a lady detective whose story is told through her diary. Many of Merricks works also focus upon a NewWoman. The pioneering meta-fictional aspects of Merricks works deserve attention.

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Enlightenment discourse is generally characterized by an over-identification with favorable aspects of the human psyche and the repression and projection of energies not circumscribed by its sense of selfhood. This psychic split is found in the Enlightenment's positioning of itself against various others - nature, the body, woman, wilderness, irrationality, affect, uncertainty, chaos, the exotic, and the nonwestern - configurations of which are central to eighteenth-century alterity. The Enlightenment, however, did not recognize the other as a psychic projection of itself. Such a realization would not take place until the emergence of Romanticism, a movement that served not as a repudiation of the proceding historical period, as some scholars have argued, but as Enlightenment's dialectical self-correction. Romanticism, as this study will demonstrate in Jungian terms, represents the beginnings of a complex, psychological resolution of the eighteenth century's collective doubting of itself.

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While film scholars and enthusiasts all over the world are familiar with Federico Fellini's important contributions to postwar Italian and European cinema it is much less known, especially outside of Italy, that such success has much to do with the writings of his fifteen-year collaborator and scriptwriter, Ennio Flaiano (1910-72), journalist, novelist, dramatist, and theater and film critic. This book identifies the ways in which Flaiano's distinctive travel diary 'satirically registering the transformative journey from provincial Italian to global citizen' captured and shaped the changing tastes of an entire generation of Italians on the film set, in the newspaper office and on the street. The book highlights Flaiano's uneven yet steadily developing anticolonialist stance, his emerging postmodern autobiography, and his interrogation of notions of regional, national and cultural superiority.

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As a result of fabricated accounts endlessly repeated since his death, the early nineteenth-century French satirist, J. J.Grandville (180347), is often perceived as being as bizarre as his inventive protosurrealist imagery. With the recent bicentennial of his birth, it is time for a reassessment of this seminal artist based on primary sources. The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy by Clive F. Getty does just that. This first major study in English of Grandville allows him to speak for himself through a careful examination of his diary, fragments of which are to be found in a previously unexamined album of drawings in the Special Collections of the University of Missouri-Columbia Libraries.An introductory biography situates the artist within the political, social,and cultural climate of France during the Romantic era and the July Monarchy of Louis-Philippe. The main body of the book consists of an annotated catalog of the albums drawings. Since the majority originate from his diaries, they provide valuable new insights into Grandville's life and work, particularly during those years most extensively represented: 1830, 1833, and 1846. An epilogue explores the genesis of the Missouri Album. The biography follows Grandville from his native Nancy to Paris where he first gained fame as a satirist with the human/ animal hybrids of Les Mtamorphoses du jour (182829). After the Revolution of 1830, he produced opposition caricatures for Philipons La Caricature, Le Charivari, and the Association mensuelle. With the establishment of press censorship in 1835, Grandville turned to book illustration, producing such innovative masterpiecesas Scnes de la vie prive et pub-liquedes animaux (1842) and Un autre monde (1844). The biography ends with the unusual circumstances of Grandville's death in 1847 and an analysis of the distorted accounts about the deceased artist and

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This book examines the work of three major twentieth-century Caribbean poets: one Puerto Rican, one Martinician, and one Saint Lucian. Focusing on one major work by each poet, it follows their efforts to confront the Archipelagos historical legacy of racism and colonialism through the creation of poetic personae that unceasingly alternate between the open dialogism of political engagement and the monologic closure of lyric self-articulation.

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Political economy is defined in this volume as collective state or corporate support for art and architecture in the public sphere intended to be accessible to the widest possible public, raising questions about the relationship of the state to cultural production and consumption. This collection of essays explores the political economy of art from the perspective of the artist or from analysis of arts production and consumption,emphasizing the art side of the relationship between art and state. The volume explores art as public good, a central issue in political economy. Essays examine specific cultural spaces as points of struggle between economic and cultural processes. Essays focus on three areas of conflict: theories of political economy put into practices of state cultural production, sculptural and architectural monuments commissioned by state and corporate entities, and conflicts and critiques of state investments in culture by artists and the public.

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This book combines subtle readings of eight classic films (Casablanca, Vertigo, The Seventh Seal, Freud, Persona, Children of Paradise, Shakespeare in Love, and 8 ½) with memories and associations that make it possible for both the author and his readers to understand why he sees movies as he does.

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This book is the first in English to address contemporary Israeli poetry of the Holocaust. The unique character of the book consists in its capacity to approach simultaneously the fervent feelings and scalding, emotional scars associated with the Holocaust and the aesthetic 'infrastructure' that is inlaid and operates in the very depth of the poems under consideration. In this respect, the book functions on two simultaneous levels:it views the emotional strata engaged with the Holocaust while analyzing its literary mechanism from an artistic perspective. The book also turns to the congruence between the very collective nature of contemporary Israeli poetry and the capacity to cope with the Holocaus while enlisting literary means. Hence contemporary Israeli poetry tends to display a poetic might while being also emotionally oriented. Memory of the Holocaust should never be dimmed by passing years nor by the fact that the last survivors are saying farewell to all earthly things. There are numerous ways to commemorate the Holocaust. This book introduces a very effective way to do so. One may wonder about combining the Holocaust with art. That doubt, however, is proven wrong by this book. Accordingly, it deftly illustrates how an artistic text can deliver the most scorching emotions of the Holocaust. This aesthetic dexterity does not cloud the Holocaust but rather introduces it in the most artistically challenging fashion. The fact that the Holocaust poetry discussed here is also Israeli poetry makes the book even more important and relevant. One may cogently argue that the sate of Israel was established on the ashes of the Holocaust. If so, the fact that contemporary Israeli poetry is dedicated to the topic of the Holocaust celebrates the victory of humankind over Nazi atrocities. This book should be of interest to students, teachers and scholars of the Holocaust, modern Hebrew/Israeli poetry, and literature in general.

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People who lived through the English Reformation had the shock of witnessing the dismantling of institutions and relationships they had been taught were permanent. Of course, not all English people welcomed this dismantling; this study, however, focuses on those people who did, and on those forces such people willingly allowed to wrench them from their religious ancestry. One such force came in the form of books. In an effort to guide popular consciences through the dizzying reform process, Protestant writers and preachers used various media to shape evolving patterns of domestic worship. While many post-revisionist studies focus on the deeply disruptive aspects of the Reformations alternative devotional program, Patterson considers some of its more positive articulations. She reveals underexplored expressions of religious dissent by rescuing three key texts largely ignored despite their being certifiable 'best sellers' in their day: Thomas Becon's The Sick Man's Slave, John Nordens A Pensive Man's Practice, and Edward Dering and John Mores A Brief and Necessary Instruction for Householders. Patterson analyzes how the writers packaged 'high' theology for ordinary persons, offering accessible guidelines for an everyday reformist piety to be worked out in the 'ideally' Protestant, English household. By drawing portraits of new religious identities, these little-known authors became chief actors in the Reformation theater, as translators and disseminators of a Protestant and distinctly anti-Catholic world view that would come to characterize much of modern, Anglo-centric religious culture. Patterson asks the following questions: how did these devotional manuals, intended to be read aloud, stream continental theology into the domestic contexts of parish, school, and home? What sorts of individuals or households did the authors envision? How did issues of literacy/ illiteracy affect or not affect popular absorption of new ideas from books? Finally, how can the occasional incalculability o

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By closely reading the text of four of Pym’s novels, Some Tame Gazelle, Quartet in Autumn, Excellent Women, and Jane and Prudence, with a unique sensitivity and respect, this book demonstrates at the level of narrative the deceptive power of Pym’s art, which engages issues of loneliness and love and futility and significance and despair and joy, without the ponderousness of so much modern literature.

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In his provocative new book, Zoos in Postmodernism: Signs and Simulation, marine biologist Stephen Spotte lumps together public aquariums and zoological parks (which he collectively calls zoos) and treats them as cultural derivatives assessable using semiotics (the study of signs and their meanings) and Baudrillard's models of simulation. He concludes that only modernist zoos can exist in postmodern times, making captive animal displays anachronistic. Today's zoos are thus reminiscent of an era generally agreed to have ended with the 1950s. Unable to evolve and compete with contemporary entertainments, they can only be spectacles viewed passively.

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The Target is a two-part interarts study of Jasper Johns and Alain Robbe-Grillet. Stoltzfuss' translation of Robbe-Grillet's introduction in the catalogue to John's 1978 Pompidou show in Paris is followed by an essay comparing the works of the American Pop artist and the French new novelist and cinematographer. Fifty-eight illustrations (eight in color) from the show accompany the translation because these art works generated Robbe-Grillet's text, also entitled 'The Target.' Stoltzfuss' essay discusses Johns' art and Robbe-Grillet's metafiction in a postmodern context. Both men subvert cultural stereotypes and realism in art. Their works are self-reflexive and they call attention to themselves and to the language of art. Autopoiesis, that is, the internal recursive loops of the system in the artwork is one of many features that they share. In addressing these features the essay deals with chaos theory, strange attractors, psychoanalysis, play theory, the role of the observer(s), and the social function of art. Books and articles have been published on Johns and on Robbe-Grillet, but none comparing the two. Bringing the two together, while exploring the affinities between the visual and the written, should be of great interest to every aficionado. The conclusion of the book argues that the foregrounding of the significant, the distortion of sequential narrative, and the disruption of causality and closure affect our perception of history, the work, and our lives; that this process has profound social consequences because Johns and Robbe-Grillets art explores the ontology of representation, not the mirroring of reality. An appendix to the book describes the rings of Johns Target and their relationship to the nine objects and nine numbers that Robbe-Grillet assigns to them.

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The ever-proliferating views of Chaucer's texts amount in part to disagreements about who or what determines his narratives: lifelike characters, doctrinal principles, the cycles of history, material conditions, the prototypical subject, the reader, even the text itself. In Chaucer's Agents, Carolynn Van Dyke shifts our focus from any particular kind of cause to the representation of cause itself that is, to agency. 'Agency' is widely used but seldom defined. Indeed, academic writers use it in contrary ways. To linguists, philosophers, and most social scientists, it means the power to initiate actions, but economists and legal scholars define it as delegated power. Defining 'agency' broadly as the capacity to cause action, Van Dyke argues that the words opposing uses reveal a fundamental ambiguity: agency is always double, autonomous and subordinate. That doubleness was particularly evident in late-medieval England. Political and ecclesiastical rulers aggrandized power with instruments that weakened it. Philosophers denied reality of universal ideas but acknowledged their force as mental representations. Textual scholars and poets simultaneously downplayed and emphasized human authorship. Chaucer responded to those fluctuations by modeling them. His works deploy an exceptional range of agents, from lifelike peasants to transcendent personifications, and the kind of agency continually changes both within and among individual texts. Chaucer's Agents draws on medieval and modern theories of agency to provide fresh readings of the major Chaucerian texts. Collectively, those readings aim to illuminate Chaucer's responses to two great problems of agency: the degree to which human beings and forces qualify as agents, and the equal reference of 'agent' to initiators and instruments. Each chapter surveys medieval conceptions of the agency in question: allegorical realities, intelligent animals, pagan gods, women, and the author and then follows that kind of agent through representative Chaucerian texts.

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In this volume the author compares James Joyce’s aesthetic theories, as explicated by Stephen Dedalus in A Portrait of the Artist as a Young Man and in the ‘Scylla and Charybdis’ chapter of Ulysses, with the theories of the early German Romantics.

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This study examines the necessity of reading retrospectively. In this manner, the reader who comes along after the composition of an authorOs opus may better understand the authorOs earlier works after reading a later one.

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This book is a study of the role of Native Americans in the physical and political development of the United States during the first fewyears of its existence. An evaluation of the function and operation of power both within Native American groups and their relation with outsiders, which informed their diverse and complex strategies of resistance to white westward expansion, forms a central component of the study.

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This book collects a number of Richard LevinOs essays, beginning with his well-known PMLA article of 1988 on OFeminist Thematics and Shakesperean TragedyO and continuing through the 1990s.

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This volume is the first full-length account of the British prose poem, its history, and status as a genre. This book not only aims to place British prose poetry within the larger literary framework, but also contributes to the discussion of what constitutes the genre, while posing the question: is there a discernible `British style’? Extending from the Romantic period to the twentieth century, Such Rare Citings offers analyses of prose poems by writers from Coleridge to Samuel Beckett.

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This volume presents original views of the relationship between desire and romance. It begins by looking anew at the nature of desire, citing its central theoretical text as Freud's 'Beyond the Pleasure Principle'. It traces the struggle betwen myth and romance, between the ego on its way to death and the self in search of life, through close readings of poems and letters of John Keats and in detailed considerations of a series of novels including Frankenstein, Wuthering Heights, Jane Eyre, and Sons and Lovers.

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Donne and the Resources of Kind is the first book about Donne’s writings to focus on their relations to genre. It considers what Donne took from the resources of kind and how he transformed the resources on which he drew. Most of the chapters discuss Donne’s secular and religious verse but there is also discussion of Donne’s religious prose.

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This interpretive study of KokoschkaOs Expressionist work critically examines the claims for OtruthO often made on behalf of KokoschkaOs portraits, as well as the fundamental assumptions underlying his portraiture: the interchangeability of the physical and psychological, the psychological veracity of mythical narratives, and the ability of style to convey ethical and epistemological truth. This study also draws attention to the numerous parallels between KokoschkaOs Expressionism and Freudian psychoanalysis, to the ways in which style in Vienna in 1900 could convey political (especially antifeminist and anti-Semitic) meanings.

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From 1930 to 1950, Vihiga and Gusiiland, relatively similar regions of western Kenya, went their separate ways and in opposite directions. This account of the contrasting experiences of the Vihiga and Gusiiland provides a framework for enhanced understanding of the history of agrarian change in Africa.

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This book explores the influence of Enlightenment and Romantic-era theories of the mind on the writings of Godwin and Shelley and examines the ways in which these writers use their fiction to explore such psychological phenomena as ruling passions, madness, the therapeutic value of confessions (both spoken and written), and the significance of dreams. Unlike most studies of Godwin and Shelley, it does not privilege their masterworks—for the most part, it focuses on their lesser-known writings. Brewer also considers the works of other Romantic-era writers, as well as the seventeenth- and eighteenth-century philosophical and medical theories that informed Godwin’s and Shelley’s presentations of mental states and types of behavior.

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This richly illustrated book represents the first interpretive analysis of the Grosvenor Gallerys history in terms of changing attitudes about art and institutions at the end of the Victorian period. The study establishes the Grosvenors key place in the history of modernism through its cultural elevation of the artist to a spiritual realm.

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This book is a theological-missiological study on the intercultural communication of Faith, drawing heavily from anthropological, sociological, and historical sources. The book is helpful to church workers in Latin America, to colleagues who teach both on college and seminary levels, to scholars who research the phenomenon of Latin American Protestantism, to students to Latin American studies, and in religion and culture in general.

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Combining biographical data with recent theoretical studies on travel writing, Between History and Romance unravels the conventions, voices, discourses, and gender issues embedded in some American travel texts on Spain produced in the early nineteenth century and ascertains their cultural work in fostering a romantic representation of that country in the antebellum United States.

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Written between 1933 and 1942, Elizabeth WaughOs letters to Edmund Wilson record a courtship both intellectual and romantic. These letters offer fascinating insights into the process of artistic creation in the novel; taken with the biographical introduction and critical afterword, they shed light on the problems faced by a woman torn between the safety of a comfortable upper-class existence and the fulfillment of artistic aspirations.

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Volume 4 is devoted to the last years (1857-64); while age and declining health saw a waning of the composer's personal optimism, this was hardly the case artistically speaking. This last volume contains a series of glossaries listing his compositions and the musical and theatrical works he attended throughout his life, as well as a bibliography of the composer, his contemporaries, and the operatic and social milieu of the times.

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Readers of WildeOs critical writingsstruggle to determine what he is saying. The first half of this book clearly defines thetheoretical tasks Wilde setshimself and the ways he tries to accomplish them. The bookOs second half argues that WildeOs criticism is an expression of humanism. What emerges is WildeOs success in recasting the humanist tradition in the light of his own unconventional intellectual commitments.

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This book explores van GoghOs and GauguinOs conviction that the purpose of visual art in human culture is to communicate a spiritual understanding of existence comparable to the wisdom contained in the metaphors and parables of myths, religions, and literature. Monographic studies in the book, which entail many new interpretations of Van GoghOs and GauguinOs imagery, reveal the ways in which their ideas and the specific events of their personal lives shaped their creation of meaningful symbolic motifs. Illustrated

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The English Spa 1560 to 1815 dealt with not only places of healing and recreation, but also with the political, religious, social, and economic aspects of English spa life from its origins to the eighteenth century. This second volume, which incorporates a considerable amount of material and draft chapters written by Hembry, continues to the present time and is extended to include Welsh, Scottish, and Irish spas as well.

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Taking its title from the first line of Charles Olson's poem "The Kingfishers," this book provides a full-scale exegesis of that milestone poem in postwar American literature. Maud demonstrates that this poem is so crucial to understanding Olson's development that a study of it takes one into every aspect of Olson's early life and thought. This long-awaited explication (Guy Davenport announced its existence and anticipated its importance in 1985) removes what has been an obstacle in the path of further study of Olson.

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