Search results for ""Fairleigh Dickinson University Press""

This volume assembles the papers, presentations, and speeches from the 50th Anniversary Meeting of the International Association of University Presidents (IAUP) held in Oxfordshire in 2015. This book is a companion volume to the proceedings of the 1965 inaugural meeting of IAUP, also published by Fairleigh Dickinson University Press. The highlight of the 50th Anniversary Meeting was an academic conference at Oxford University on the theme of “Higher Education in 2065.” Participants were called upon to look ahead to the next fifty years of global higher education, drawing from their academic fields, as well as their leadership experience within and beyond higher education. The resulting collection includes discussions of current trends that will impact the future of universities, as well as discussions of specific challenges likely to face higher education institutions, both generally and in particular regions. Some contributors outline steps that higher education institutions and/or policymakers should adopt today to prepare for those challenges, while others imagine the university of the future. Edited by IAUP secretary-general emeritus Jason Scorza, this book is dedicated to the memory of J. Michael Adams, who served both as president of Fairleigh Dickinson University and president of IAUP, and includes some of his final writings on the topic of the future of global higher education. Founded in 1965, IAUP is the world’s largest association of university chief executives from higher education institutions. Membership is limited to individuals who serve or have served as presidents, rectors, or vice-chancellors at accredited colleges or universities.

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Marginal to Mainstream traces the near-miraculous progress of modern art in France in the first half of the twentieth century. Before World War One, it was a marginal phenomenon, largely absent from the museums, and bought and sold by a handful of second-string dealers; by the early 1950s it had been canonized as the representative form of the epoch. The triumph of modernism, and the simultaneous establishment of Paris as the crucible of modern art, were not the products of a coherent policy but of a stumbling and spasmodic process. France was the leading democratic nation in Europe, and it wanted its art to reinforce its prestige on the international stage, but no-one could agree how best to achieve this. The author shows how, amidst the policy squabbles and in-fighting of representative government, France fumbled its way towards an art of democracy, and in the process helped canonize modern art as the house style of democratic capitalism.

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Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn is the first book to link these five filmmakers together through an analysis of the relationship between filming one’s own body and the creative body. Through engaged artistic practices, these female filmmakers turn the camera to their bodies as a way to show the process of artistic creation and to produce themselves as filmmakers and artists in their work from 1987–2009. By making visible their bodies, they offer a wider range of representation of women in French film. Through avant-garde form, in which tangible corporeal elements are made image, they transform representational content and produce new cinematic bodies with the power to influence signifying practices in contemporary French culture. By rendering visible their artistic practice and praxis and their camera in their work—reflexive practices that also unite these filmmakers—these women also visually claim the role of filmmaker and creative subject. Thus they establish their authority in a film industry in which women’s participation and recognition of their achievements have historically been lower than that of their male counterparts.

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Modern literary scholarship has traced the ways in which a distinctly modern sense of selfhood and subjectivity, and of the individualist liberal society in which such a self takes shape, emerges from the drama and poetry of the early seventeenth century. John Milton, writer of the greatest long poem in English, Paradise Lost, takes up the challenge of modern character and social formation from Shakespeare and Donne and their contemporaries. He begins this task in his own early maturity, some thirty years before the publication of his great epic, with A Maske Presented at Ludlow Castle,I>, more commonly known as Comus. There has not been a major book-length study of Milton's Maske in the past twenty years, so Lady in the Labyrinth fills a major gap in Milton and Renaissance criticism. It comprehensively surveys, evaluates, and integrates recent and traditional criticism of Comus in the context of Milton's other work, while developing new directions for study, focusing anthropological and psychological analysis on the poem's characters and mythological dimensions. Parallels between the ritual elements of the Maske and the rites of passage of non-European cultures will widen the horizons of both canonically based and multiculturally engaged scholars and writers. The book's study of Milton's identification with his female hero, and his advocacy of womens ethical, sexual, and political autonomy, gives a jolt to ongoing debates about Milton and feminism. The first of Milton's heroes of Christian Liberty, the fifteen-year-old Lady who performs in his Maske, is also the first of his characters to act out this transformation of human identity. Lady in the Labyrinth treats Comus, first performed in 1634, as a rite of passage for its Lady, and for the emerging culture whose hopes are invested in her. Displaying in song, argument and dance such character qualities as inferiority, self-consciousness, flexibility, and independence, the Lady gives vital form to

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Waiting for the End examines two dozen contemporary novels as demonstrations of the continuing concern with the gender of ending in narrative. Traditional concepts of the role of ending came under question in the later twentieth century, as feminists began to argue that the structure of "rising action" and "climax" was patently masculinist. The effort to theorize alternatives to that structure was echoed by contemporary novelists, male as well as female, who sought to complicate conventional notions of ending. Often those complications of ending(s) have spoken to a growing awareness that ending in narrative is artificial and that plot structure and ending need to make gestures toward the reader's sense that while narrative may end, what narrative attempts to represent will always evade the artifice of fiction.

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Americans and other English speakers have long associated the name of Hans Christian Andersen exclusively with fairy tales for children. Danes and other Scandinavians, however, have preserved an awareness that the fairy tales are but part of an extensive and respectable lifework that embraces several other literary forms. Moreover, they have never lost sight of the fact that the fairy tales themselves address adults no less than children. Significantly, many of Andersens coevals in the U.S. knew of his broader literary activity and the sophistication of his fairy tales. Major authors and critics commented on his various works in leading magazines and books, establishing a noteworthy corpus of criticism. One of them, Horace E. Scudder, wrote a seminal essay that surpassed virtually all contemporary writing on him in any language. The basic purpose of this study, the first of its kind, is to trace the course of American Andersen criticism over the second half of the nineteenth century and to view it in several American contexts. The introduction sets the parameters of the study, interalia posing a number of questions that serve as guidelines for reading. For instance, how does the (in part) retrospective criticism of the early 1870s compare with that of the later 1840s? To what extent did Americans view Andersen as a writer for adults as well as for children? Chapter 1 presents a statistical overview of American Andersen criticism, seeking to show which works were reviewed when and how often as well as in which magazines and with what frequency. The chapter also highlights works that were not reviewed, suggesting the possible impact on Americans' view of Andersen.

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This book sets out to reconstruct and analyze the rationality of Phineas Fletchers use of figurality in The Purple Island (1633) a poetic allegory of human anatomy. To this end, textual analyses of The Purple Island lead via bibliographical, biographical, conceptual, formal, and linguistic connections to other works of literature, natural philosophy and theology, and to anatomical demonstrations.

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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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Working toward an analysis of the influence of photography on the construction of an Italian "type" to serve the mandates of the new nation in the 1860s, this book engages the work of writers and photographers who have addressed or participated in this venture. From Giovanni Verga and Italo Calvino's writings to the conceptual visual philosophy of Tommaso Campanella and Luigi Ghirri's photography. From the Arcadic gaze of Baron von Gloeden to Tina Modotti's revolutionary vision, the works analyzed in this book have all contributed in shaping our contemporary visual vocabulary. And, while Italy is at the center of my considerations, the ideas that populate this work are in many ways globally applicable and relevant. Looters, Photographers, and Thieves seeks to contribute to the fascinating discourse on the photographic image and its specific uses in the representation of racial, ethnic and gender difference, and suggest how the isolation of images according to the dictates of power relations might influence and condition ways of seeing. Finally, this book is meant as a locus where the images produced in the shaping of notions of citizenship and cultural relevance in nineteenth and twentieth century Italy might reveal the processes of the imaginary. As such, the arguments and images in each chapter thread through each other to propose ways by which to approach disparate subjects and forms in order to envision photographers themselves as seers rather than gazers.

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Deledda, the Nobel Prize winner of 1926, a century ago identified a psychosociological pathology: the arrested maturation of her male characters. Throughout her prose, truncated maturity functions as a psychological undertow, sucking down its suffers and the women who love them into the depths of fictive drama. Concomittantly she dissects male-female relationships within the framing leitmotiv of prolonged male adolescence, undergirded by a woman's boundless tolerance for male narcissitic despair. Deledda's literary strategy subverts conventional expectations in surprising ways, as she exposes the inner workings of a patronistic wolrd where her women can finally wield a fragment of power.

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Dreamscapes in Italian Cinema explores different representations of dreams, visions, hallucinations, and hypnagogic states in Italian film culture, covering the works of some of the most significant auteurs in the history of Italian cinema (Fellini, Pasolini, Moretti, Bellocchio, among others). Dreams are discussed both in a filmic context, considering the diegetic and formal techniques employed to construct and represent them, and as allegories or metaphors in a broader cultural, political, and social sense (the film industry itself as the proverbial dream factory, and dreams as hopes, aspirations or altogether parallel universes, for example). The book covers works released over different decades and spanning multiple genres (drama, gothic film, horror, comedy), and it is intended to shed light on a topic that is as suggestive as it is insufficiently studied.

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While many works on Hitchcock either openly reject psychoanalysis or utilize it only casually or peripherally, Dial 'M' for Mother: A Freudian Hitchcock is the first book-length study to consistently and systematically apply a Freudian psychoanalytic approach to a number of Hitchcock's major films (Shadow of a Doubt, Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, Frenzy). Central to this book is the author's analysis of a 'mother complex' that informs not only the major male and female characters of these and other Hitchcock films but their plot, formal structure, and visual, cinematic artistry as well. According to the author, the genius of Hitchcock is inseparable from the director's unrelenting adherence to the 'darker side' of our unconscious fears and fascinations, and in its unwillingness to veil this exploration of the Freudian Unconscious with Hollywood's and society's denial of such truths.

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Bringing together both established and emerging scholars of the long nineteenth century, literary modernism, landscape and hemispheric studies, and contemporary fiction, New Versions of Pastoral offers a historically wide-ranging account of the Bucolic tradition, tracing the formal diversity of pastoral writing up to the present day. Dividing its analytic focus between periods, the volume contextualizes a wide range of exemplary practitioners, genres, and movements: contributors attend to early modernism's vacillation between critiquing and aestheticizing the rise of primitivist nostalgia; the ambiguous mythologization of the English estate by the twentieth-century manor house novel; and the post-national revisiting of the countryside and its sovereign status in contemporary imaginings of regional life.

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In this well-illustrated text, Dr. Denney asserts that the artists who image Diana, Princess of Wales, have framed her according to a cultural memory based on traditions of royal portraiture and according to twentieth-century reassertions (that is, reframings) of the debate over feminism and femininity in visual culture. Art historians and literary critics have examined the visual culture of Queen Victoria, Queen Elizabeth I, Queen Elizabeth II, and more recently, images of women in the court of Charles II, but no one has addressed, as the author does here, the impact of imaging Diana, Princess of Wales, at a time in British culture when feminism and femininity collide. Dr. Denney critiques art historical traditions of portraiture in order to argue that a princess must perform a constructed role of femininity, one that corresponds to Victorian codes of royal protocol, visual practice, and behavior. The book encompasses themes of marriage, motherhood, philanthropy, royal dress, and autobiography. Through an examination of nineteenth- and twentieth-century paintings, photographs, engravings, and popular illustrations, the study engages a comparative visual dialogue on the imaging of royal women. Looking particularly at the nineteenth-century Princess of Wales, Alexandra (born Princess Alexandra of Denmark), the author reveals the persistence of a cultural memory in terms of the proper roles and behaviors of a princess from the nineteenth century to the twentieth century. By looking at portraits of Diana, Princess of Wales, in conjunction with past royal portraits, the study determines that she, like Princess Alexandra before her, is conscious of tradition and employs it as a matter of survival. The book's methods in this regard include an exploration of royal portrait traditions, gender studies, popular journalism, theories on feminist biography and autobiography, as well as costume theory and history to contextualize the representation of Diana, Princess of Wales. How does one address the insistence on

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This is a close textual analysis of Rushdie’s five major novels: Midnight’s Children, Shame, The Satanic Verses, Haroun and the Sea of Stories, and The Moor’s Last Sigh. Rushdie recognizes that practicing identity politics leads to nativism and nationalism, categories he rejects because they merely invert the colonizer/colonized binary, leaving violent hierarchies intact. His impulse is to deconstruct the colonizer/colonized binary and in doing so to clear a `new’ postmodern space. This text employs post-structuralist/ postmodern theory not only to address the issues of representation that Rushdie raises in his major political novels, but also to facilitate a discussion of the manner in which he pushes the boundaries of the modern novel.

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The Stronger Sex, a study of the women in the fiction of Lawrence Durrell, argues that Lawrence Durrell envisioned a new woman, self-confident, free of male domination, and able to serve, direct, and protect her dependent man. Durrell's modern twentieth- /twenty-first-century woman is the center of what Durrell envisions as the new "couple"-woman dependent upon man for completion and man dependent upon the centrality of woman for the essential wisdom and direction and meaning in his life. Far from being a mere follower of D. H. Lawrence, as many have claimed, Durrell came to insist that man must first cede to woman both the personal and social power and freedom which he has throughout history denied her. Only in this way, suggests Durrell, can modern man both find himself and save himself and so discover and fulfill his own being. Thus, all of Durrell's women are the saviors of the lost men who must come to them for human completion. From the women of the early works, such as Panic Spring, The Pied Piper of Lovers, The Black Book, and The Dark Labyrinth, to the Justines, Melissas and Cleas of the Alexandria Quartet, the Benedictas and Iolanthes of The Revolt of Aphrodite, the Constances and Livias of The Avignon Quintet, and Cunegonde of Caesar's Vast Ghost-all of Durrell's lost and ever inadequate men must ultimately find themselves and the meaning of their lives in the women who complete them. Then, paradoxically, and only then, can these same men provide the security, direction, and protection for which their women so desperately search. Thus, in the "couple" both man and woman are completed in their mutual dependence and final self-discovery. The study refers often to the works of previous biographers of Lawrence Durrell: Ian MacNiven, Richard Pine, and Gordon Bowker.

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Kenya's Independence Constitution: Constitution-Making and End of Empire is a narrative of the evolution of the constitution that was put into effect as Kenya's history as a colonial possession came to an end. It details the attempts of the colony's political elite and the British Colonial Office to find a constitutional means to move Kenya to the status of independent state. As this process moved forward, political ethnicity assumed central significance. This produced an environment in which demands for a federal constitution, popularly termed majimbo, came to dominate constitutional discourse. Deep disagreement among Kenya's political elite over this issue marked the remainder of the colonial period. That elite, now represented by the Kenya African National Union (KANU) and the Kenya African Democratic Union (KADU), advocated different constitutional paths to independence. KADU's demands for a majimbo constitution dominated discourse during 1962 and early 1963, but deep disagreement characterized the constitutional negotiations. This resulted in a constitution for self-government (introduced on June 1, 1963) that was regional in character but fell short of a federal system. Almost as soon as it came into existence, this constitution faced pressure for substantial change from KANU, the party that won the 1963 general election. As a result, the British government was forced to make alterations in what became the independence constitution. The latter proved a prelude to the destruction of majimbo a year later. Kenya's Independence Constitution provides the first in-depth description of the final stage of colonial Kenya's constitutional evolution. This book not only provides a detailed account of the process of constitution-making, including definitive treatments of the final two constitutional conferences of 1962 and 1963. Utilizing British and Kenya cabinet papers and secret intelligence reports never featured in earlier accounts, the narrative also destroys many of the myt

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This is a wide-ranging anthology that examines, in chronological order, several genres that have been prominent in the history of Western philosophy. The programmatic introduction outlines the diverse range of genres used by philosophers (dialogue, commentary, biography, etc.) and explains how genre-based exegesis can enrich our analysis and interpretation of philosophical texts. The remaining essays examine individual texts from this perspective.

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In Hitler in the Movies: Finding Der Führer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him … Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain’s The Great Dictator or Ernst Lubitsch’s To Be or Not to Be (1942), along with the Mel Brooks’s 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler’s Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins’s The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl’s iconic The Triumph of the Will or The Hidden Führer, to the controversial Hitler: A Film from Germany and Quentin Tarantino’s fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Führer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

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Rabbit (Un)Redeemed: The Drama of Belief in John Updikes Fiction offers a selective reading of this prolific authors oeuvre, concentrating on Updikes career-spanning reoccupation with issues of faith and doubt. In Baileys reading, at the heart of Updike's work is the tension between affirming the continuance of the 'heady wine of religious consolation' and the deepening anxiety that the best that humanity can hope for is 'the bleak fare of more endurance.' Focusing on a trio of Olinger stories, the Rabbit Angstrom tetralogy, In the beauty of the Lilies, and Rabbit Remembered, Bailey locates the dialectical situation at the center of Updike's literary career in his conflicted sense of himself as a Christian novelist and Howellsian realist. Bailey's thematically centered study reveals a substantial stylistic component in Updike's dilemma of belief; therefore, a significant objective of this study involves illuminating the author's conflict between creating an eschatologically inspired mimesis reflective of a 'knowing eye' behind appearances of reality, or settling for a historically based realism that, in Howellsian fashion, can do nothing more spiritually meaningful than to record (and thus literally preserve) that which is an will one day be no more. Rabbit Angstrom is Updike's most significant fictional creation, Bailey contends, because his impulses toward religious skepticism are so inadequately possessed of the intellectual and literary buffers that provide Updike and some of his other protagonists with temporary forms of solace or compensation. Rabbit's deepening skepticism that 'goodness lies inside, there is nothing outside' finds it corollary in the evolution delineated in Updike's work, transforming it from the 'song of joy' in affirmation of creation the 'The Blessed Man of Boston' narrator David Kern invokes, to the chronological reconstruction of history as attempted compensation for a relinquished belief in times spiritual significance in In the Beauty of th

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Is William Shakespeare's Antony and Cleopatra a sequel to the earlier Julius Caesar? If this question raises issues of authorship and reception, it also interrogates the construction of dramatic sequels: how does a playtext ultimately become the follow-up of another text? This book explores how dramatic works written before and after Shakespeare's time have encouraged us to view Shakespeare's Julius Caesar and Antony and Cleopatra as strongly interconnected plays, encouraging their sequelization in the theater and paving the way toward the filmic conflations of the twentieth century. Blending theories of literary and filmic intertextuality with issues of race and gender, and written by an author trained both in early modern and film studies, this book can easily find its place in any syllabus in Shakespeare or in media studies, as well as in a wide range of cultural and literary courses.

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Considering the importance of Francis Rawdon-Hastings, 1st Marquess of Hastings and 2nd Earl of Moira, it is surprising that no full-length biography has been written about him. The only significant studies of his career have been analysis of his role as governor-general of India in the early nineteenth century. Paul David Nelson's study rectifies this situation by providing a well-crafted scholarly analysis of the life of Lord Hastings. He covers in depth all aspects of the man's multifaceted career as a professional soldier, peer in the House of Lords, and governor-general of India. He also provides a character study of this intelligent, affable man, pointing out his strengths as a father, husband, and friend. In the process, Nelson does not lose sight of Hastings's personal ineptitude. He shows how the marquess ran up debts of nearly 1,000,000 by the time of his death and left his family almost penniless. The most important role that Hastings played was as a soldier in the British army. He was a young officer during the American war, fighting at Bunker Hill in 1775 as a lieutenant in the grenadier company of the 5th Regiment. Distinguishing himself, he was promoted captain and appointed aide-de-camp to General Henry Clinton. He went on to lead the Volunteers of Ireland, serve as adjutant general under Clinton, and to command an independent army in South Carolina in 1780-81. As governor-general of India from 1813 to 1823, he successfully led campaigns against the Nepalese, Pindaris, and Marathas. Hastings's second most important role was as an administrator in India. Although supported by able civilian subordinates, he sometimes made poor choices in his own appointments and became mired in the cloudy dealings of the Palmer Company. He was not guilty of any chicanery, but his reputation was marred by his defense of some questionable company activities. Hastings's third role was as a politician in the House of Lords. Here he was least successful, partly because he was not ruthless enough to rise to the

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Edmund Andros, a soldier, administrator, courtier, and diplomat, served a succession of Stuart monarchs in the Old and New Worlds. This study differs from most past assessments that portray him in a negative light; instead it concentrates on his role in protecting and defending EnglandOs New World colonies as governor of New York, the Dominion of New England, and Virginia.

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Social Networking: Redefining Communication in the Digital Age fulfills a pressing demand in social network literature by bringing together international experts from the fields of communication, new media technologies, marketing and advertising, public relations and journalism, business, and education. In this volume contributors traces online social networking practices across national borders, cultural confines, and geographic limits. The book delves into the socioeconomic, political, cultural, and professional dimensions of social networking around the globe, and explores the similarities, distinctions, and specific characteristics of social media networks in diverse settings. The chapters offer an important contribution to the scholarly research on the uses and applications of online social networking around the world and pertain to a broad range of academic fields. Overall, the volume addresses a subject matter of keen interest to academics and practitioners alike and provides a much-needed forum for sharing innovative research practices and exchanging new ideas.

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This book treats the literary work of Julia Augusta Webster within the context of Websters participation in nineteenth century British aestheticism. Websters personal life, her experience as a member of the Suffrage Society and her tenure on the London School Board, as well as her position as poetry reviewer for the Athenaeum and participation in the salon society of the 1880s, inform her later work, but her earliest poetry and fiction also reflect the beginnings of the aestheticist perspective on the transience and impermanence of life. This book makes use of extensive archival materials to provide context for a study of Websters literary work, beginning with her first volume of poetry Blanche Lisle and concluding with her posthumously published Mother and Daughter sonnets. In tracing the trajectory of Websters development as an aestheticist poet, Patricia Rigg extends Webster scholarship into areas of the writers work not previously explored.

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This study explores images of economic assistance to explain the importance of tailoring such assistance to the distinctive social needs of the targeted communities, and how third parties must consider and include local perspectives in their attempts to build a lasting peace. The book makes an important contribution to our understanding of how economic assistance impacts a divided society with a history of protracted violence. The stories reflect the importance of community development and cross-community contact through joint economic, peace and justice, and social development projects. Byrne's research brings to light a vision of how the impact and delivery of IFI and EU Peace I aid is assisting in building the peace dividend in Northern Ireland. One of the key unanswered questions related to economic aid and preventing future violence is what is the significance and importance of external economic aid in building the peace after violence. By examining the respondents' political imagery, this project significantly expands existing work on economic aid and peace building in other societies coming out of violence. Northern Ireland's changing social-economic and political context reflects the fact that economic aid and sustainable economic development is a cornerstone of the peace-building process.

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This book represents an investigation into one of the basic issues in the study of translation: how do we reconcile theory and practice? The main focus, in the form of close readings and think-aloud protocols in chapters 2 and 3, is on translations of two classic texts: Mark Twain's 'The Adventures of Huckleberry Finn' and Carlo Collodi's 'Le avventure di Pinocchio'. The first and last chapters respectively seek to show what translation theory is and what translation practice is. Indeed, 'Theory and Hubris', chapter 1, provides a synthesis of the development of the interdiscipline of Translation Studies, with some consideration also given to the hermeneutical questions that inevitably arise when dealing with the interpretation of language.

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A few short years after Peru had declared its independence from Spain, the attention of some people in Lima began to focus on a potential source of untold wealth that was to prove more precious than gold. This was guano, which, in its greatest concentration, was found on the diminutive Chincha Islands that lie just off the Peruvian coast, some seventy miles south of Callao. This book covers the story of this international guano trade. It outlines the fate of the unfortunates recruited to cut and load the guano. It also gives full details of the hardships endured by mariners employed in this trade. The story of those who grew rich on the proceeds of this trade is also outlined. Importantly, it explains just how the Peruvian government mismanaged the trade, to the extent that Peru became burdened with debts, rather than prospering on the proceeds of their vast new guano-based income.

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This book recovers the earliest epistolary activity of one of America's most innovative and influential modernist poets. From 1902 to 1912, William Carlos Williams wrote more than 300 letters to his younger brother Edgar, an accomplished architect with whom Williams shared the desire to become 'a great artist'. This collection of 200 letters sheds new light on the aesthetic thoughts and practices with which Williams was engaged for a full decade before his unique voice emerged in the forerunner to 'Paterson', 'The Wanderer' (1914). Providing a comprehensive introduction, exhaustive annotation, images of poetry and artwork, and hundreds of letters never before seen by scholars, this critical edition provides substantially new material on Williams and will be an important addition to the study of early American modernism.

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Engaging with a wide range of texts on gift-theory, extending from Senecas De Beneficiis to Derridas Given Time, Selfish Gifts examines the importance of gift ethics and the rhetoric of honorable giving to the literature of late Elizabeth and early Stuart England. It demonstrates that the ideal of the freely given and disinterested gift shaped the language of early modern clientage, along with literary representations of patrons and patronage systems during this period. Selfish Gifts examines how early modern clients moved quickly and strategically to assimilate the language of competition and equality, characteristic of an emerging market economy, within their existing discourses of gift exchange, in order to maximize the rewards they might induce from an increasingly diverse group of patrons. To give is to exercise power and thus, as numerous modern gift-theorists and anthropologists elucidate, the gift is implicitly self-interested even as it derives value from appearing altruistic; nowhere is this paradox more significant than in a patronage economy such as that which shaped literary production in early modern England. In pursuing that paradox and its implications, Selfish Gifts highlights crucial connections and cultural tensions between political and sexual giving, between 'giving' truth and flattery, between the sovereignty and subjection of gift donor/recipient, and between strategic and so-called 'sacrificial' giving. Those tensions are examined in the context of the latter years of Elizabeth Is rule, through the contrasting reign of James I and up to the early Caroline period. Selfish Gifts demonstrates the prominence of the gift ideal in Renaissance England and suggests the disturbing social and political consequences for those who give contrary to that ideal by bestowing self-interested gifts, by refusing to give, or by giving egotistically. The book establishes the centrality of gift theory to the discourses of patronage, friendship, and sovereignty, sugg

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This is the first edition of the complete works of William Heminge (1602-c.1653), son of Shakespeare's colleague and first co-editor, John Heminge. It contains a biography, critical old-spelling texts of his two surviving plays, The Jewes Tragedy and The Fatal Contract, and the small group of poems assigned to him in contemporary manuscripts. Heminge's tragedies in particular reveal him to be an innovative writer deserving far greater critical attention than he has previously received. He is both the first dramatist in English to see the theatrical potential of Josephus's account of 'the Fall of the Temple', and the first to challenge the conventions of revenge drama by presenting a fully autonomous female avenger on the English stage. The introductions to the plays offer an investigation of Heminge's historical sources and theatrical techniques. His literary and theatrical debts to Shakespeare are investigated, together with the stage history and afterlife of the plays and the provenance of the poems' manuscripts. In the case of The Jewes Tragedy, three early modern analogues ot the narrative of the siege of Jerusalem are discussed along with the contemporary context of Roman dramas and representations of Jews on the English stage. The Fatal Contract depicts the first female revenge protagonist in English drama, and is examined in the tradition of revenge tragedy, with special reference to portrayals of cross-dressed women, Africans, and eunuchs. All copies of the first quartos of the plays available in the United Kingdom have been examined and collated, together with those in the Huntington Library. The transmission of the texts is discussed, with contextual evidence for the dates of the plays. The relationship of the variant text, The Eunuch (1687), to both The Fatal Contract and Elkanah Settle's adaptation, Love and Revenge (1675) is examined. One poem, 'A Contemplation over the Dukes Grave,' has never been previously printed. A case for the attribution to

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Mormon Women’s History: Beyond Biography demonstrates that the history and experience of Mormon women is central to the history of Mormonism and to histories of American religion, politics, and culture. Yet the study of Mormon women has mostly been confined to biographies, family histories, and women’s periodicals. The contributors to Mormon Women’s History engage the vast breadth of sources left by Mormon women—journals, diaries, letters, family histories, and periodicals as well as art, poetry, material culture, theological treatises, and genealogical records—to read between the lines, reconstruct connections, recover voices, reveal meanings, and recast stories.Mormon Women’s History presents women as incredibly inter-connected. Familial ties of kinship are multiplied and stretched through the practice and memory of polygamy, social ties of community are overlaid with ancestral ethnic connections and local congregational assignments, fictive ties are woven through shared interests and collective memories of violence and trauma. Conversion to a new faith community unites and exposes the differences among Native Americans, Yankees, and Scandinavians. Lived experiences of marriage, motherhood, death, mourning, and widowhood are played out within contexts of expulsion and exile, rape and violence, transnational immigration, establishing “civilization” in a wilderness, and missionizing both to new neighbors and far away peoples. Gender defines, limits, and opens opportunities for private expression, public discourse, and popular culture. Cultural prejudices collide with doctrinal imperatives against backdrops of changing social norms, emerging professional identities, and developing ritualization and sacralization of lived religion.The stories, experiences, and examples explored in Mormon Women’s History are neither comprehensive nor conclusive, but rather suggestive of the ways that Mormon women’s history can move beyond individual lives to enhance and inform larger historical narratives.

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This book examines the contradiction between Chinese perception of the missionary role and the missionariesO own perception of their role. It offers a critical assessment of the role of the missionaries in the country and sheds light on the magnitude of the problems inherent in cross-cultural encounters.

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As it happens with other early-Modern corpora, the descriptive texts from 16th-century encounters of the Portuguese colonizers in Brazil are well-known for their strangeness. In them we find references to entities like monsters and demons, bizarre descriptions, and odd classification systems of plants and animals. For the most part, these elements are dismissed as mere eccentricities by modern scholars studying these texts. Instead, this book takes these elements seriously. They are focused on and tackled with a theoretical tool_styles of thinking_not yet used in Luso-Brazilian studies, and coming from another field of inquiry: philosophy and history of science. By doing so the book aims to unveil epistemological and ontological issues in which colonial and post-colonial studies are entangled, and which have a relevance that goes beyond debates concerning, for instance, the formation of Brazil's cultural identity. This book contributes to Luso-Brazilian studies, science studies, and the history of the early-modern period. The notion of 'styles of thinking' as presented and used in it benefitted from the many discussions about philosophy and history of science that emerged since the 1980s, with authors such as Ian Hacking, Lorraine Daston, and Peter Galison, who have already done much reassessing critically what is best in the work of previous authors such as Paul Feyerabend, Thomas Kuhn, and Michel Foucault. This book considers that the well-known puzzling passages of the corpus of the Portuguese have a fictional and figurative character that acquires full intelligibility in view of literary and mystical traditions typical of the late Renaissance, and influential over the Portuguese. Nature is understood as emerging from an excessive source which permanently overflows it and which is impossible to refer and depict literally. The book points to the fact that such an idea would connect the Portuguese with other peculiar pre-Modern and post-Modern authors with similar ontological insights: from the neo-Platonists to Boccaccio, Nietzsche, and more recently, Derrida.

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Disenthralling Ourselves portrays contemporary Israel in a process of transition. Jewish-Israeli and Palestinian-Israeli communities share a nation-state divided by the separate truths of its conflicting fundamental narratives. This book considers ways of converting those separate and antagonistic narratives from fuel for conflict to seeds of change. Its purpose is to undo the convenient coherence of collective memory and master narratives through fostering a capacious moral imagination able to apprehend diverse, even contentious, stories and truths. Contemporary Israel functions as a case study in an in-depth and interdisciplinary exploration of conflict resolution, viewing Jewish-Israeli and Palestinian-Israeli documentary film, poetry, fiction, essays, memoir, peace initiatives, and other elements of collective narrative-building through a prism of three analogously themed Shakespearean plays. This comparative methodology is integrated with theoretical perspectives on reconciliation, resilience, critical reflection, and peace education in presenting concrete alternatives to the convenient comforts of the inimical master narratives that perpetuate what can now be seen as a hundred-year war. The readings offered in this book generate perspectives that can be adopted and adapted in relation to each other in the process of moving from a single static narrative of incessant warfare. The first section, 'Seeing in the Dark,' considers rhetoric and identity formation of cultures in transition. Its first half focuses on revenge cultures and reads Shakespeare's Merchant of Venice and Juliano Mer Khamis's documentary 'Arna's Children' in a fictive and documentary pairing of people stripped of all but revenge. Its second half considers rhetoric and Israeli identities in transition through the prism of Hamlet. Three genre-challenging authors represent Jewish-Israeli and Palestinian-Israeli narrative identity formation; Yaron Ezrahi, Emile Habiby,and Anton Shammas reflect a hybridity that emphasi

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Investigating the growth of Indology (the study of East Indian texts, literature, and culture) and the diffusion of this knowledge about ancient India within nineteenth-century Germany, this work contextualizes approaches to contact by historically grounding them in a contemporary history of German culture, education, and science. It answers the historical anomaly of why Germany had more nineteenth-century experts in the academic discipline of Indology than all other European powers combined. German interest in ancient India developed because it was useful for widely varying German projects, including Romanticism and nationalism. German Indologists made successful arguments about the cultural and intellectual relevance of ancient India for modern Germany, leaving an ambiguous legacy including a deeper appreciation of South Asian culture as well as scholarly justifications for the warlike image of a Swastika-bearing Aryan master race.

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This book examines how the hierarchical structures of taste implied by the term middlebrow were negotiated by the best-selling novelist, Warwick Deeping (1877 - 1950). Deeping is the focus for three reasons: he was immensely popular, prolific, and his popularity was perceived by such critics as Q. D. Leavis as a threat to the "sensitive minority". His sixty-eight novels from 1903 to 1950 give the cultural historian the unusual opportunity of tracing the develpment of an author's attempts to protect both himself and his readers from a process of cultural devaluation. After 1925, the best-selling Sorrell and Son and its successors established "a" Deeping as a product about which both admirers and detractors had certain expectations. His response to these provides an exemplary site within which to examine how cultural distinctions were being negotiated and contested in Britain between the two World Wars. The introduction traces the genealogy of Dr. Grover's theoretical approach. The theories of the Frankfurt school and of Pierre Bourdieu do not account adequately for the generation of texts in response to perceived cultural hierarchies. Deeping's texts are increasingly explicit in the ways they dramatize and address their own questionable cultural status. Grover uses this self-consciousness to test the limits of the usefulness of available theories of cultural production. Chapter 1 historicizes the emergenceof the term middlebrow, contrasting its use on either side of the Atlantic to demonstrate class and cultural context. Chapter 2 shows how Deeping represented his own class positioning as bestselling author. Chapter 3 examines a group of novels, preceding Sorrell and Son and before the term middlebrow had currency, in which the writer is depicted as feminized and declassified. Chapter 4 concerns the reception of Sorrell and Son and Deeping's fictionalization of its reception. The final chapter deals with the animosity to which Sorrell's success exposed the culturally beleaguered Deeping

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Despite critical interest in the role of women in the French Revolution, there is no single, comprehensive study of the works of the two most prolific women writers of the period—Olympe de Gouges and Manon Roland. At a time when politicians were molding public policy concerning life, liberty, the pursuit of happiness, and constituting criteria for citizenship, increasing numbers of women in Paris were clamoring for rights. New medical and philosophical theories redefining female nature were trotted out to justify women's continued exclusion from full political participation. Such theories focused on the female body as the locus of women's intellectual inadequacies and promulgated the idea that women who acted outside of the confines of their physiological nature were considered desensitized and unfeminine. Deviant Women of the French Revolution and the Rise of Feminism aims to uncover the work of those women who challenged prevailing views of female nature, sought social reforms, and were deemed "deviant" for their writing and/or activism during the French Revolution.

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This book addresses the question of the legacies of Nietzsche's theories of tragedy as literary genre and of the tragic as ontological concept. Although The Birth of Tragedy was the most seminal in this sense, Nietzsche's followers also read, misread, and appropriated ideas on the tragic in his later works. Taking seriously the call for the rebirth of the tragic spirit in culture generally, dramatists, poets, novelists, philosophers, film makers, and theorists not always acknowledging a debt to Nietzsche incorporated the Dionysian and the Apollinian, as well as other aspects of Nietzsche's thinking on tragedy, into their own works. This volume gives a sampling of the multifaceted and widespread impact of this aspect of Nietzsche's thought in Eastern as well as in Western Europe and in the United States.

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This study demonstrates that jazz as it appeared in narrative fiction was often used as a forum to address the nation's anxieties in the turbulent years during which the United States gradually changed from a nation dedicated to an isolationist policy to a superpower likely to intervene in foreign conflicts. The jazz narrative became one of the means through which this paradigm shift was justified to an American audience. Jazz might strike many readers as a subject only for aficionados, but this book is accessible to a broad audience. It is aimed at casual fans of jazz music curious about the music's broader role in the cultural development of the United States and the interplay between jazz and American fiction.

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This book is about Theodore Roosevelt as a politician not as a statesman/politician, just a politician. The parties, persons, decisions, and mistakes that made up Roosevelts political experience are discussed, and the book seeks to isolate Roosevelt's political motivation and his moves to enhance an appreciation of his political savvy.

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LennoxOs novel, published in 1750, is the first novel of a well-respected author whose work demands significant critical attention. This volume reprints the first edition of the novel, along with an introduction and notes.

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This volume is a review of both ideas and practice concerning federalism in Britain and Ireland, the Empire, and Europe, furnishing an unusual perspective on BritainOs changing political and constitutional relations from 1870 to the present day.

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A Handful of Mischief: New Essays on Evelyn Waugh is a collection of essays based on presentations at the Evelyn Waugh Centenary Conference at Hertford College, Oxford, in 2003. There are twelve different essays by authors from various countries, including Australia, Canada, Russia, the United Kingdom, and the United States. The essays cover a wide range of material, from Waugh's early novel Black Mischief (1932) to his last travel book, A Tourist in Africa (1960). In addition to essays on well-known novels such as Scoop (1938), Brideshead Revisited (1945), and Helena (1950), the collection includes papers on Waugh's library, his changing conception of Oxford, his writing about religious conversion, and his role in the British evacuation of Crete in 1941. The authors approach Waugh and his work in various ways, and innovative essays explore sovereignty, post-colonialism, and adaptation for radio. Contributors: Baron Alder, Peter G. Christensen, Robert Murray Davis, Marcel DeCoste, Patrick Denman Flanery, Donat Gallagher, Irina Kabanova, Dan S. Kostopulos, Lewis MacLeod, John W. Mahon, Richard W. Oram, Ann Pasternak Slater, John Howard Wilson.

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The Cultures of Italian Migration allows the adjective "Italian" to qualify people's movements along diverse trajectories and temporal dimensions. Discussions on migrations to and from Italy meet in that discursive space where critical concepts like "home," "identity," "subjectivity," and "otherness" eschew stereotyping. This volume demonstrates that interpretations of old migrations are necessary in order to talk about contemporary Italy. New migrations trace new non linear paths in the definition of a multicultural Italy whose roots are unmistakably present throughout the centuries. Some of these essays concentrate on topics that are historically long-term, such as emigration from Italy to the Americas and southern Pacific Ocean. Others focus on the more contemporary phenomena of immigration to Italy from other parts of the world, including Africa. This collection ultimately offers an invitation to seek out new and different modes of analyzing the migratory act.

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This book provides readers with a critical analysis of the restorative justice efforts of the Ovaherero and Nama communities in Namibia, who contend that they should receive reparations for what happened to their ancestors during, and after the 1904–1908 German-Ovaherero/Nama war. Arguing that indigenous communities who once lived in a German colony called “German South West Africa” suffered from a genocide that could be compared to the World War II Holocaust Namibian activists sued Germany and German corporations in U.S. federal courts for reparations. The author of this book uses a critical genealogical approach to all of this “lawfare” (the politicizing of the law) in order to illustrate some of the historical origins of this quest for social justice. Portions of the book also explain some of the historical and contemporary realpolitik barriers that stood in the way of Ovaherero and Nama activists who were asking for acknowledgments of the “Namibian genocide,” apologies from German officials, repatriation of human remains from colonial times as well as restitution that might help with land redistribution in today’s Namibia. This book shows many of the difficulties that confront those indigenous communities who ask twenty-first century audiences to pay restitution for large-scale colonial massacres or imperial genocides that might have taken place more than a hundred years ago.

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