Search results for ""Bucknell University Press""

'Enlightenment' and 'Emancipation' as separate issues have received much critical attention, but the complicated interaction of these two great shaping forces of modernity has never been scrutinized in-depth. The Enlightenment has been represented in radically opposing ways: on the one hand, as the throwing off of the chains of superstition, custom, and usurped authority; on the other hand, in the Romantic period, but also more recently, as what Michel Foucault termed 'the great confinement,' in which 'mind-forged manacles' imprison the free and irrational spirit. The debate about the 'Enlightenment project' remains a topical one, which can still arouse fierce passions. This collection of essays by distinguished scholars from various disciplines addresses the central question: 'Was Enlightenment a force for emancipation?' Their responses, working from within, and frequently across the disciplinary lines of history, political science, economics, music, literature, aesthetics, art history, and film, reveal unsuspected connections and divergences even between well-known figures and texts. In their turn, the essays suggest the need for further inquiry in areas that turn out to be very far from closed. The volume considers major writings in unusual juxtaposition; highlights new figures of importance; and demonstrates familiar texts to embody strange implications.

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At once political institution, lived experience, and discursive figure, exile defined Louis XIV's absolutist France. The Place of Exile connects the movements of both people and books through and around this absolutist territory in order to understand the deliberate construction of real and imagined marginal cultures. Four case studies of everyday, sociable writing called leisure literature guide us through an ever-widening territory of disaffection and alienation, from the center of absolutism at Louis XIV's first court to Europe's international communities of refugees. Those least likely to be considered political writers—banished noble women, novel writers, poor refugees—used literature to consider the viability of a world beyond authority's reach. More importantly, leisure literature confronted one of the major paradoxes of the grand siècle: the shifting possibilities for selfhood available in a society increasingly defined by radical divisions, whether beyond exile and grace, inside and out, interiority and exteriority.

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Cultural and individual fantasies of masculinity enter troubling terrain in gothic tales of British and German Romanticism. In the interiority of dreams and visionary spaces, a male protagonist makes a fateful encounter with a supernaturalized force and finds himself dispossessed of his real and symbolic masculine estate. Emphasizing the interdisciplinary range of this recurring motif, Ellen Brinks traces "distressed masculinity" in canonical instances of gothic imagination - Byron's Oriental Tales and Coleridge's Christabel - but also in works such as Hegel's Phenomenology of Mind, Keats's Hyperion fragments, and Freud's letters and scientific writings. An elegant and compelling account of the construction of sex and gender in the Gothic, Gothic Masculinity will be of interest to scholars of sexuality, gender, queer theory, Romantic subjectivity, and the German and English Gothic.

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The Scottish and French Enlightenments are arguably the two intellectual movements of the eighteenth century that were the most influential in shaping the modern age. The essays in Scotland and France in the Enlightenment explore a wide range of topics of historical relevance to eighteenth-century scholars, while engaging students with broad interdisciplinary interests in the humanities and social sciences. The ways in which Scottish philosophy influenced French painting, how the Encyclopaedia Britannica presented the French Revolution, the impact of Macpherson's Ossian on the development of French Romanticism, the moral education of children, the relation between reflection and perception in the arts and in moral life, humankind's relationship to other animals, and the links between violence and imagination, and fear and sanity, are only some of the topics covered. This challenging selection of essays comparing Scottish and French enlightenment views of natural history, jurisprudence, moral philosophy, history and art history complicates and enriches the notion of "Enlightenment," and will inaugurate a new field of Franco-Scottish studies.

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Cultural Roundabouts: Spanish Film and Novel on the Road, by Jorge Pérez, offers the first comprehensive inquiry about the road genre in Spain. Road narratives have recently received some scholarly attention within the field of Peninsular Studies through a few articles and book chapters, but no book-length study has been published so far. This book investigates how Spanish authors such as Ignacio Martínez de Pisón, Ray Loriga, Eugenio Fuentes, and Eugenia Rico, and filmmakers such as Juan Antonio Bardem, Cecilia Bartolomé, Fernando Guillén Cuervo, and Mariano Barroso employ the road genre to address the reconfiguration of the social, economic, and cultural landscape of Spain since 1975. One of the premises of this book is that, in the context of Spanish culture, road movies and novels should be discussed concurrently, as they emerge as a response to the same socio-historical circumstances, share many thematic and iconographic traits, and show reciprocal influences. The road genre, broadly defined as movies and novels in which the characters travel by driving a vehicle across, out of, or into the Spanish territory, offers the opportunity to examine a country in movement and, thus, to reflect on the topic of national mobility. This genre brings to the fore the modernization of Spain, as highlighted by the remodeled highway system, the development of the automobile industry, and the changes in the landscape. In this study, Pérez argues that road stories offer lenses through which one can observe contemporary Spain and its transformations, but also the shortcomings of its development. It is not a one-way journey of a whole community progressing at the same speed and along the same path. As the trope of the roundabout suggests, contemporary Spain seems to function with a fluid social and cultural circulation that allows movement from and to multiple directions. Yet, as with a roundabout in which specific traffic norms and hierarchies navigate flow, these narratives signal

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This book brings to light a mythic dimension of seventeen important eighteenth- and early nineteenth-century narratives that revolve around the persecution of one or more important female characters, and offers original readings of novels by Richardson, Fielding, Burney, Radcliffe, Godwin, Austen, Scott, and others. The myth in question, which Raymond Hilliard calls "the myth of persecution and reparation," serves as a major vehicle for the early novel's preoccupation with the "mother," a mythic figure distinct from the historical mother or from the mother as she is represented in eighteenth- and early nineteenth-century maternal ideology. Hilliard argues that the myth of persecution and reparation derives from the topos of female sacrifice in the romance tradition, and shows that this topos is central to several kinds of novels—realist, Gothic, Jacobin, feminist, and historical. Hilliard contends that the narrative of persecution and reparation anticipates the twentieth-century maternal myth associated with the work of Melanie Klein and other "relational model" psychoanalytic theorists, and he thus also examines the psychosexual significance of the "mother." Hilliard explores the relation of psychosexual themes to social representations, and delineates a new theory of plot—both tragic and comic plots - in the early novel.

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Chilean poet Tomás Harris's Cipango—written in the 1980s, first published in 1992, and considered by many to be the author's best work to date—employs the metaphor of a journey. The poems collectively allude to the voyage of Columbus, who believed that he'd reached the Far East ('Cipango,' or Japan), not the Americas. Building on that mistaken historical premise, Cipango comments on the oppressive legacy of colonialism in Latin America—manifested in twentieth-century Chile through the 1973 military coup by Augusto Pinochet and the brutal dictatorship there—and on the violence and degradation of contemporary urban society. The author's vision is of a decadent, apocalyptic world that nonetheless contains the possibility for regeneration. Cipango is characterized by strange and obsessive imagery—strips of mud, will-o'-the-wisps, vacant lots, blue rats—juxtapositions of contemporary and archaic diction and of incongruous settings that range over time and place; the use of an understated irony; and a dark, incantatory voice. The speakers in various poems address personages such as Columbus, Marco Polo, and the Great Khan, and refer to a breadth of sources including Columbus's diaries, Genet's Our Lady of the Flowers, Bram Stoker's Nerval's Aurelia, the Holocaust, Billie Holiday, and the film Goldfinger. The book's content and formal elements combine to produce a work of almost epic scope, one with universal appeal.

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This ambitious book takes education as a paradigm for eighteenth-century thinking, especially "Enlightenment." That egalitarian project required limits on those who could profit. Hundreds of English educational treatises between 1762 and 1800 demonstrate that education emerged as the concern of a modern public then. The book engages on philosophical and historical fronts in an informed, competent, and readable manner. Although not a history of education in the eighteenth century, it reads symptomatic texts from successive periods: from Adam Smith's response to Mandeville, through the legacies of Chesterfield and Sheridan, to the 1790s. This is coupled with addresses to three crucial topics: the problem of the poor, upper-class education, and 'politeness'; the resort to ancient Sparta; and how and why women should be educated in the nation. These topics raise the questions What is education for? What kind of education is desirable? How much education is enough? Whom does education exclude?

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Epic, Empire, and Community in the Atlantic World studies the epic poem Espejo de paciencia by Silvestre de Balboa, written in 1608 in order to commemorate the abduction of bishop Fray Juan de las Cabezas Altamirano, which took place near the town of Bayamo in the eastern part of Cuba on April 29, 1604. Marrer-Fente argues that the disappearance of the Espejo de paciencia manuscript during the seventeenth and eighteenth centuries did not prevent the poetic world described in the text from founding a trope of enduring possibilities in Cuban literature. Epic, Empire, and Community in the Atlantic World makes a salient contribution to Cuban colonial studies by offering a comparison between Balboa's poem and the works of other contemporary authors from the Canary Islands, Spain, Spanish America, emphasizing the relevance of transatlantic relations in the poetic production of the period.

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Through its unparalleled exploration of the trials of poetry from the early seventeenth to twentieth centuries, Poetry Proscribed opens a new line of inquiry into the present-day stakes of poetry through in-depth investigation of the mishearing inherent to poetry's relation to philosophy, history, politics, and the law. By considering the literal and figural trials of Théophile de Viau, André Chénier, Charles Baudelaire, André Breton, and Louis Aragon, each of the chapters of this book theorizes the twentieth-century fascination for the trials of poetry as key to the literary politics of French national identity and the unfulfilled promise of the commitment of literature. The impact of this book on the debate over the place of poetry on the cultural and political landscape will be a lasting one.

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In this original contribution to the history of American poetry in the twentieth century, Bethany Hicok traces the influence of the women's college on the poetic development of three American poets - Marianne Moore at Bryn Mawr, Elizabeth Bishop at Vassar, and Sylvia Plath at Smith. Drawing on extensive archival research, Hicok demonstrates how the women's colleges provided an important source of cultural and critical authority for American women poets and played a central role in their poetic development in the first half of the twentieth century. Hicok argues Moore, Bishop, and Plath were each part of a supportive but also competitive community of writers and scholars who honed their writing skills in college classes and in literary magazines. Her book offers theoretically and historically grounded new readings of their poetry within the specific cultural and literary context of the women's college in order to sharpen and deepen our understanding of women's poetic production.

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The process of modernization that occurred in Spanish society in the first decades of the twentieth century resulted in significant changes in all aspects of life, from economic and social structures to the emergence of new cultural modes and values. While these decades brought new opportunities for women and a degree of social and intellectual freedom, female writers and intellectuals in early twentieth-century Spain nevertheless encountered many obstacles in their efforts to transcend gender barriers and participate in the literary and cultural scene of the day. This book focuses on the life-writing produced by four women writers and intellectuals who were active in the Madrid cultural arena during this period: Carmen Baroja (1883-1950), María Martínez Sierra (1874-1974), María Teresa Le&3243;n (1903-1988), and Concha Méndez (1898-1986). The study examines ways in which these writers portray their positioning in relation to dominant cultural models of the time and their engagement with political and social issues in a period of changing gender dynamics and political instability. In broader terms, this book examines the complex relationships between memory, writing, and identity, and thus contributes to the growing field of explorations of the workings of memory in narrative.

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In Out of Bounds, Dara E. Goldman teases out the intricacies of a territorial conception of nationhood in the context of a global reorganization that ostensibly renders historical boundaries irrelevant. Hispanic Caribbean writers have traditionally pointed toward the supposed purpose equivalence of island and nation and have explained local culture as a direct consequence of that equation. The major social, political, and demographic shifts of the twentieth century increasingly call this equation into question, yet authors continue to assert its existence and its centrality in the evolution of Caribbean identity. Goldman contends that traditional forms of identification have not been eviscerated by globalization; instead, they have persisted and, in some cases, have been intensified by recent geopolitical shifts. Out of Bounds underscores the ongoing role of the nation as the site of identity formation.

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Embodying Resistance traces narrative strategies in Griselda Gambaro's novels to the grotesco criollo and to the broader grotesque tradition. Gambaro (Argentina, 1928 - ) is widely recognized as an interpreter of a society in crisis. This first full-length study of all but one of her major narrative publications provides a coherent theoretical framework and clear historical and social referents. After an overview of grotesque and grotesco criollo as literary technique and effect through a summary of pertinent critical theory, these techniques and their effect on the reader are analyzed in six novels, with an emphasis on their critique of social relationships within the Argentine political system and within male-female relationships. This book will be helpful to both the literary scholar and the undergraduate or graduate student and should be read by those interested in contemporary women's writing, oppositional voices under repression, in the political import of art, and in Latin American history and culture.

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La Florida del Inca is a central text in the history and culture of the Americas. Its author, Inca Garcilaso de la Vega, the son of an Inca princess and a Spanish conquistador, was born in Cuzco, Peru. In his chronicle Garcilaso offers a unique rendition of Hernando de Soto's expedition (1539-43) to the vast territory known then as La Florida. The studies collected in Beyond Books and Borders: Garcilaso de la Vega and La Florida del Inca were presented by leading scholars at an interdisciplinary symposium in November 2003, sponsored by the City College and the Graduate Center of the City University of New York (CUNY), inaugurating the celebration of the fourth centennial of the 1605 publication of this important work. Two additional essays, an Introduction, a Chronology, a General Bibliography, and fifty-five images complete this book.

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The Woman Saint in the Spanish Golden Age Drama examines the various ways in which male and female dramatists present the figure of the ascetic woman in seventeenth-century Spanish theater. Playwrights depict her not only as the solitary initiate of a rite of passage, struggling to purify herself to approach the divine, but they also focus on the clash between ascetic practice and the desire of family, suitors, and patriarchal society. She may appear as both a forbidden fruit and Christ figure who is ultimately persecuted, scapegoated, and executed by a fearful society. Some writers present her as a representative of the Symbolic Order; invested with sacred powers and ultimate authority, she rebukes transgressors and negotiates the return to God's grace and lawful society. Ritual concepts such as liminality, sacrifice, and communitas mediation guide the interpretation of this complex figure, who marks the site of contention where worldly and ascetic values struggle for control of each play's Counter-Reformation discourse.

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This study explores the role of historical and fictionalized figures from the New World historiographically in eight novels (both New Historical and traditional historical) published in Mexico and the River Plate during the 1980s and 1990s. It pays particular attention to the fundamental role of fictional autobiographies and testimonials in reqriting historiographical discourses about the discovery and conquest and their relationship to contemporary politics and issues of national and cultural identity in Latin America. The writers and novels include Argentina's Antonio Elio Brailovsky (Esta maldita lujuria) and Abel Posse (El largo atardecer del caminante); Mexico's Eugenio Aguirre (Gonzalo Guerrero), Armando Roa Bastos (Vigilia del Almirante), and Uruguay's Napoleón Baccino Ponce de León (Maluco: la novella de los descubridores). This study shows how these novelists use major and marginal figures to reflect upon the ways that institutional powers have invokes episodes from the discovery and conquest to explain and legitimate the present. They also revisit this period to critique the recent historical past, especially in the case of Uruguay and Argentina, which endured military dictatorships in the 1970s and 1980s.

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This edition of Johnson's Latin Poems contains a Preface and Introduction followed by text, translation (prose), and brief notes on the poems. Several corrections have been made to the standard text. The notes deal with the obscurities and provide comment on style and treatment. It is often interesting to see how Johnson uses his Latin sources, especially Horace, to add a dimension to his meaning. There are numerous links with familiar episodes in Johnson's life, e.g., his trip to the Hebrides, the revision of his dictionary, his recovery from illness; and there are instances (notable in the anguished appeals for mercy in his prayers), where the more distant Latin form enables Johnson to say things about himself that he would never have expressed in English. The reader will find new details added to the well-loved portrait.

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This is a literary and philosophical study that links the idea of secularism to the form of the novel. It offers a groundbreaking critical foundation both for understanding the move toward a secular culture and for examining the role of the individual in modern ethical, political, and spiritual contexts.

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Translation and Culture examines the cultural politics of translation that determine the production and dissemination of ‘‘the foreign’’ in domestic cultures as varied as contemporary North America, Europe, and Israel.

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The beginning of the seventeenth century in Spain marks a rapid rise in the commercial market for cultural production. This book examines the evolution of this commercial market as reflected in the maturation of two genres: the public theater and the novel. Through a comparative analysis of the playwright Lope de Vega and the novelists Mateo Alemán and Miguel de Cervantes, the author explores the new poetic principles, both implicitly and explicitly, that accompany the rise of this commercialized literature. The book argues that the logic of classical economic theory becomes internalized within the poetic structure of these two genres. Within this logic, the idea of 'taste' comes to play a new and unprecedented role as the arbiter of 'literary' value. Exposed increasingly to the pressures of popular 'taste,' these writers are forced to rework or abandon many of the traditional poetic ideas of the Renaissance in a process that tends to undermine the writer's control over his own work.

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In this book Spanish author Carmen Martín Gaite eloquently describes how principles and policies of the Franco regime, particularly in the early postwar years (1940-1950s), manipulated the behavior of an entire generation of Spaniards.

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Ana Rossetti is a unique phenomenon in Spanish culture, a performer and writer who resists categorization within any single genre, gender, period, or medium. She began as a performer, and she has returned repeatedly to artistic performance, playfully inverting and perverting norms, continually and radically transforming her public image, and mixing high and low culture. Rossetti's work employs unstable signifiers derived from fashion, literature, design, pornography, psychology, theater, drag, and Catholicism to destabilize critical, analytic, political, social, and gender categories. She has dabbled in most genres, including fiction, essay, drama, children's literature, and opera, and she has collaborated with visual artists, popular singers, and fashion designers. Rossetti's cultural practice in itself presents critics with a key hermeneutic problem: how to define her and her work without reverting back to the categories that her artistic practice destabilizes. This book avoids those temptations by presenting a kaleidoscope of critical readings of Rossetti's texts by leading U.S. scholars, each of whom focuses on a single text, or textual practice, in the case of her lesser known and studied texts.

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An in-depth study to date of García Lorca's "dark period," this volume moves away from biographical criticism to relate the darkness to the duende's presence. It examines how Lorca meshes biblical apocalyptic discourse with his distinctively pantheistic imagery to represent a battle that is at once social, political, and mythical.

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As one explores Frost's ethical thinking through his body of prose and poetry, one discovers a conflicted and often confusing world. Some apparently overt claims are shaded in context by tones of cynicism or skepticism. Values he apparently lauded in his work he violated freely in his life. Ideals he longed for are often crushed under a bitter sense of reality. Consequently, the important questions to ask about Frost's ethiscs are whether any systematic patterns emerge, what influenced such patterns, and, most importantly, how they are manifested in the poetry. To examine such issues, the critical methodology of this study is contextual, with emphasis upon three primary contexts. The first context is the nature of the work itself - the fundamental influences upon Frost's art and the way he shapes the poetic work to engage an ethical issue. The second significant context entering this discussion is historical/biographical. While it is not the aim to read Frost's poems directly in the context of life events, as a poet who is often narrative in style, his own life inevitably colors the story of the work. Furthermore, the understanding of ethical situation and response is significantly enhanced by an understanding of the personal and historical details behind the work. Finally, the third and most important context comes directly from the philosophy of ethics itself, demonstrating that consistent ethics, even though intrinsically encapsulated in ambiguity and ambivalence, does in fact appear in Frost's work.

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Through close textual analyses of the work of Mercè Rodoreda, Remedios Varo, oig, and Carme Riera, this study isolates that which defines a distinctly female narrative voice in Catalan art and literature. From the success of Catalan surrealism, through the destructive years of the Spanish Civil War and to the new beginnings of post-Franco liberation, these writers and artists represent the struggles of women throughout the second half of the twentieth century.

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This volume of essays commemorates and celebrates the creative works of Frederico García Lorca, Salvador Dalí, and Luis Buñuel, three contemporaries and friends. The essays suggest that the artistic creations of Lorca, Dalí, and Buñuel feature theoretical ideas on (their) contemporary art in general, as well as on the particular art form cultivated by each_ideas that help us to better understand their work as it relates to a wide range of aesthetic theories.

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Presenting Gender engages with one of the most intriguing aspects of Early Modern and Enlightenment culture: gender passing, the phenomenon of passing oneself off as a member of the opposite biological sex. This collection of ten historically informed and theoretically sophisticated essays by European and American scholars employs "passing" as a pivotal practical, ideological, and textual term for investigating the relations among gender, sex, subjectivity, politics, and economics in a wide range of texts and social and cultural practices during the period 1600-1800. The relations between sex and gender, and biology and culture are found to be imbricated but not indissociable. Together, the contributors demonstrate that the identification of passing with sexual motivations suggested that the sexual body was perceived to be stable, though capable of being categorized into more than two sexes, while the association of passing with political motivations tended to privilege the body's cultural construction. At the same time, the contributors find a reverse set of polarities to be true for gender. Those who passed in early-modern and eighteenth-century culture for sexual reasons suggested that gender was unstable, while those who passed for political reasons suggested its stability. Rich in detail and methodologically rigorous, Presenting Gender makes a significant contribution to our understanding of the shift from Renaissance and Restoration to Enlightenment understandings of identity generally, and sexual identity specifically, and will complicate the hitherto rather rigid periodization of the years 1600-1800.

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Land of spirituality, or land of widow burning? Land of fabulous wealth, or land of dire poverty, the caste system, and untouchability? Western literature has reflected stereotypical and contradictory images of India since antiquity. For centuries, French writers have reproduced images of India such as the widow immolating herself according to the custom of sati, the pariah or untouchable, and the bayadère or temple dancer, in various forms of theatrical representations - tragedies, ballets, operas, and exhibits in world's fairs. The examination of such recurrent images of India in four French plays and one ballet written from the eighteenth through the twentieth century demonstrates how these dramatic representations intervene politically in French society as well as further the aesthetic agendas of the dramatists themselves. India becomes a spectacle, both literally and figuratively, on the French stage. Raising questions of Orientalism, the book argues that it was precisely because the French lost their Indian colonies to the British in the eighteenth century that India became part of the French literary imagination.

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This study makes the case that the novel’s intricate self-consciousness begins as a very recognizable story: the Künstlerroman. In such a reading, Ulysses emerges as the story of the time-obsessed Stephen Dedalus, who desires to compose a masterful chronicle that will one day rival the timeless narratives of Ovid and Homer. McBride’s analysis treats at length Stephen’s poetic theories and compositions, examining them as clear forerunners to the novel that the reader is reading. The culminating point is the claim that the figures of Leopold and Molly Bloom may be elaborate fictions created by Stephen.

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The challenging poetry of José Lezama Lima has not received the critical attention it deserves. This study rectifies the critical imbalance, foregrounding the poetry in a discussion of three issues that link together disparate areas of LezamaOs literary production: cultural assimilation, generation, and resurrection.

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Bathsua Reginald Makin is an important figure in women's history. A child prodigy, she was thoroughly educated in classical and modern languages at a time when most women were illiterate. She was a middle-class Englishwoman who published her own poetry, established her own school, and wrote in defense of women's right to learning. Not only did she publish but she was also "a woman of great acquaintance" who sometimes acted on her own to earn a living. She enjoyed friendships with prominent Protestant families like those of Sir Simonds D'Ewes and the Raleghs; with the leaders the English Comenian movement, like John Milton's friend Samuel Hartlib or her own brother-in-law, John Pell; and with other learned women like Anna Maria Van Schurman and Lucy, Countess of Huntingdon. She lived in poverty, yet taught a countess and a princess. Historians of linguistics, education, and literature discuss her life and works. Unfortunately, the most basic facts of her life were not known until the 1960s: scholars thought she had grown up as an orphan, whereas she was the daughter of a loving schoolmaster; they thought she had written a pamphlet about debtor's prison that is, in fact, someone else's work; they did not realize that she had published her first book, an extraordinary collection of poetry in many languages, when she was sixteen years old. This biography gathers what is known about Makin, offers new materials from archival research, and interprets the events of Makin's life within the context of women's history in seventeenth-century England. The facts about Bathsua Makin offer a glimpse both into the life of one extraordinary woman and into the problems that learned women faced in this period. Knowing about her life also helps to explain both what the works that she published mean and how she managed to achieve her reputation as England's most learned woman.

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This book deals with the development of business attitudes toward competition within various industries between the end of World War I and the early New Deal years. Both the voluntary and involuntary efforts by members of the business community to bring unrestrained competition under the control of business institutions are identified.

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The Ladies of Llangollen is the first book length critical study of Lady Eleanor Butler and Miss Sarah Ponsonby, whose 1778 elopement and five decades of “retirement” turned them into eighteenth century celebrities and pivotal figures in the historiography of female same-sex desire. Debates within the history of sexuality have long foundered over questions of what constitutes “proof” of past sexual desires and practices, and the nature of Butler and Ponsonby’s intimacy has been deemed inimical to productive critical consideration. In this ground-breaking study Fiona Brideoake attends to the archive of their shared life—written, performed, and enacted in the vernacular of the everyday—to argue that they embodied an early iteration of female celebrity in which their queerness registered less as the mark of some specified non-normativity than as the effect of their very public, very visible resistance to sexual legibility. Throughout their lives and afterlives, Butler and Ponsonby have been figured as chaste romantic friends, prototypical lesbians, Bluestockings, Romantic domestic archetypes, and proleptically feminist modernists. The Ladies of Langollen demonstrates that this heterogeneous legacy discloses the queerness of their performatively instantiated identities.

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Henry Crabb Robinson (1775-1867) spent five years in Germany (1800-1805) and became deeply informed about its Romantic literature and philosophy, then at its height in that country. In the course of his enthusiastic embrace of the German language and culture, Robinson built up an intellectual and literary capital that he would draw on for the rest of his long life. The main thrust of this critical and biographical study is to demonstrate that Robinson is an important nineteenth-century life writer, and that his autobiographical writings, a large portion of which are still in manuscript, deserve to be taken seriously by students and scholars of autobiography, and to be published in a new edition. Since to date no one has focused on Robinson the life writer, this study of Robinson's German years draws on his published letters, diaries, and reminiscences as well as some manuscript material.

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Across the academy, disciplines flock for scientific status, keen to demonstrate that their approach to their subject matter is "scientific." How might literary criticism achieve anything like this sort of methodological consonance? Looking at the history of twentieth-century attempts, from Northrop Frye's macrostructural systematizing and Roman Jakobson's microstructural analysis, through to the collapse of the structuralist project and the recent strategic embrace of evolutionary psychology and cognitive science, this book looks at what hopes remain for a "science" of literary criticism and draws on the work of such thinkers as Richard Dawkins, Hilary Putnam, Richard Rorty, and Kurt Vonnegut to investigate the consequences of adopting a scientific perspective toward literary study. With an increasing number of departments teaching "literature and science" courses, the question of what literary study stands to gain (and what it might risk) from cleaving to the sciences is especially pressing.

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This book explores Antonio Muñoz Molina's creation of compelling narratives about Spain's immediate past by engaging in a dynamic dialogue with popular culture subgenres and the media. The author asserts that popular culture functions in Muñoz Molina's novels as provider of a series of strategies that represent in the text aspects of Francoism and the Transition that, because of their relevance, are part of the structure of feeling of those periods. The study focuses on the role of popular music, film, photography, the thriller, the romance novel as well as the radio and other gadgets of modern technology in Muñoz Molina's Novels. The Gaze on the Past argues that through the incorporation of popular culture in texts, Muñoz Molina undertakes a deliberate and intense reflection on memory and on the creation of historical moments, highlighting their desire to be heard.

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The focus of Fictive Domains is the period 1717-1770, during which nostalgia was just beginning to emerge as a cultural concept. Using psychoanalytic, feminist, and materialist theories, this book examines representations of bodies and landscapes in the cultural production of the early- to mid-eighteenth century. With considerable social anxiety surrounding changes in the structure of the family, the control of bodies within the family, and ownership and access to the land, nostalgia generated narratives that became the richly textured novels and long poems of the eighteenth century. In Samuel Richardson's Clarissa, or the History of a Young Lady (1747-48), social anxieties are played out on the body of Clarissa Harlowe; female passion is controlled in Alexander Pope's "Eloisa to Abelard" (1717) and Jean-Jacques Rousseau's Julie, ou la Nouvelle Heloise (1761); questions of domesticity and family are explored in Oliver Goldsmith's The Vicar of Wakefield (1760); and an alternative domestic structure is proposed in Sarah Scott's A Description of Millenium Hall (1762).

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Engendering Legitimacy is a study of the intersecting of law, land, property, and gender in the prose fiction of Mary Davys, Daniel Defoe, Eliza Haywood, and Jonathan Swift. The law of property in early modern England established relations for men and women that artificially constructed, altered, and ended their connections with the material world, and the land they lived upon. The cultural role of land and law in a changing economy embracing new forms of property became a founding preoccupation around which grew the imaginative prose fiction that would develop into the English novel. Susan Glover contends that questions of political and legal legitimacy raised by the Glorious Revolution of 1688-89 were transposed to the domestic and literary spheres of the early 1700s. Well researched and compellingly argued, Engendering Legitimacy examines the ways by which experimentation in prose fiction begins to re-vision the period's enmeshing of law, land, property, and political power, as the four writers imagine new grounds for authorial and political legitimacy.

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This volume explores a wide range of Victorian texts, including novels, poems, sermons, and some less easily categorized writings, in terms of their use of language and imagery suggestive of the Apocalypse. The focus is less upon the conscious or deliberate use of the Apocalypse as a source of sublime metaphors or as a guide to cultural decline than on the ways in which certain tropes recur in the writings of the period. These can be characterized in terms of oppositions that both structure apocalyptic literature and characterize much Victorian writing: human/inhuman, desert/city, veiled/revealed, time/the eternal, this world/other world. The book sets out to show that what might be called a cultural affinity exists between the writing of the Victorian era and apocalyptic literature, and to argue that such a relationship was unavoidable for a society steeped in the bible as it confronted dramatic changes in its relationships with nature, God, and time.

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This book shows how, in his enormously influential Essay Concerning Human Understanding (1689), John Locke embraces the new rhetoric of seventeenth-century natural philosophy, adopting the strategies of his scientific contemporaries to create a highly original natural history of the human mind. With the help of Locke's notebooks, letters, and journals, Peter Walmsley reconstructs Locke's scientific career, including his early work with the chemist Robert Boyle and the physician Thomas Sydenham. He demonstrates too how the Essay embodies in its form and language many of the preoccupations of the science of its day, from the emerging discourses of experimentation and empirical taxonomy to developments in embryology and the history of trades. Widely research and lucidly and engagingly written, Locke's Essay and the Rhetoric of Science constitutes an important new reading of Locke, on that shows both his brilliance as a writer and his originality in turning to science to effect a radical re-invention of the study of the mind.

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Emotion as Meaning offers a new model of the mind based upon a new understanding of emotion. It resolves the debate between the imagists and the propositionalists by tracing the translation of language into vicarious experience, showing that the mind represents the imagined world by means of not only image and idea, but emotion.

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During her lifetime, Gloria Fuertes achieved the status of a controversial cultural icon, both through her poetry for adults and through her poetry, recorded readings, and television programs for juveniles. This collection of lively essays, by authors who specialize in contemporary Spanish poetry, approaches the works of Gloria Fuertes from various theoretical and critical perspectives. In Her Words speaks to the inherent complexity of Gloria Fuertes' poetry, as manifested in its ultimate indeterminacy and indecision, yet attests to this poet's abiding value as the voice of the marginalized-women, the poor, children, all the invisible members of society-who were silenced during the years of Spanish dictatorship under Franco. This book manifests the prescience of Fuertes' stands on a variety of social and cultural issues, from women's changing roles in society, gender and sexuality, identity within a society held captive by a dictatorial regime, to more universal themes such as love, justice, ethics, nature, and obsolete societal norms. In Her Words decisively addresses and ultimately rejects the Spanish cultural elite's inclination to disavow Fuertes' influence and reveals how her voice has shaped succeeding generations of Spanish poets and underscored the ubiquity of her verse in contemporary Spanish literature and culture. The subtlety and diversity of the essays included in this volume attest to the power of Gloria Fuertes' poetic creativity, her ability to appeal to a wide audience both in Spain and abroad, and her place in the contemporary Spanish poetic canon.

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Born in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar común (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolution, which she elaborated in Habitable (Primera poética). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emoción (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poética). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasión inédita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supersedes essence and, in so doing, breaks with insights expressed by Juan Ramón Jiménez during his Modernist phase. In Pasión inédita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the "holy wedding" (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow.

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This work draws together the strands of doctine into the epistemological theory that Hume called 'a mental geography, ' which translates in modern terms into a faculty theory of knowledge. This theory forms the foundation of Hume's other best-known doctrines and, the author argues, is essential to their proper understanding.

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This collection of ten essays addresses the suffering of patients and how individuals as well as the larger society understand that suffering and try to ameliorate it. Four essays are personal reflections on illness, often interspersed with analyses of literary texts and including original poetry and creative prose. These pieces reveal how suffering is intensely private, how it happens interstitially, between medical appointments, procedures, and treatments. The essays reveal how, for many people, the psychological fragmentation that typically accompanies serious disease is ultimately more threatening to one's overall well-being than the disease itself. The other six essays take a wider view of patienthood, examining it through the lens of history, politics, or culture. As a whole, this thoughtful volume attests to the rich intellectual and personal gains that result from an exploration of the condition of patienthood and what it means to become 'patient'.

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Trans/Acting: Latin American and Latino Performing Arts comprises fourteen new essays by leading scholars of Latin American and US Latino theater as well as the performance script Mexterminator vs. The Global Predator by Guillermo Gómez-Peña. The essays focus on contemporary Latin American and US Latino dramatic texts and performances. They range from a panoramic view of transculturation in twentieth-century Latin American theater to in-depth analyses of individual plays from Cuba (Abelardo Estorino), Mexico (Sabina Berman, Vicente Leñero, Paquita la del Barrio), Argentina (Rafael Spregelburd, Patricia Suárez, Susana Torres Molina), Uruguay (Gabriel Peveroni), and the US (Guillermo Reyes, Guillermo Gómez-Peña, and the Original Latin Kings of Comedy). By deploying the concept of trans/acting, with its connotations of negotiation and/or exchange, in various theoretical ways the essays explore and challenge the parameters of culturation, nationalism, gender, genre, translation, and adaptation in the context of globalization, shifting borders, and new cultural paradigms. The study of contemporary theater and performance arts in this volume is complemented by trans/actor Gómez-Peña's Mexterminator vs. The Global Predator, a strikingly transgressive script that underscores the performative nature of territorial and symbolic border crossings. Exploring the transformation of Latin American theater from the local to the global and the national to the transnational, Trans/Acting will appeal to scholars of Latin American studies, performance art, and globalization.

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Cy-Borges—this compound word seems almost destined. It allows the associations of cyber—and cyborg to converge around the name of Jorge Luis Borges, many of whose writings are strangely prescient thought-experiments in the impossible and the unconfigurable. For though Borges speaks scantily of technology and hardly at all of the cyber-cultural futures that make it possible, his speculative fictions and other prose writings contrive glimpses of posthuman conditions that are more typically associated with writers like William Gibson and Philip K. Dick or films like Blade Runner and The Matrix. Yet the posthuman, as that which reconfigures the actual and the possible once technology re-engineers human potential and institutes a new physics, is everywhere in Borges. As this collection shows through a series of close readings of his work, Borges is therefore the precursor whom posthumanism would have had to invent had he not existed.

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