Search results for ""Northwestern University Press""

Written between 1945 and 1947, the essays in Sense and Non-Sense provide an excellent introduction to Merleau-Ponty's thought. They summarize his previous insights and exhibit their widest range of application-in aesthetics, ethics, politics, and the sciences of man. Each essay opens new perspectives to man's search for reason.The first part of Sense and Non-Sense, "Arts," is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, "Ideas," Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, "Politics," clarifies the political dilemmas facing intellectuals in postwar France.

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Set in the summer of 1979 at the height of the movement to free Soviet Jewry, Farewell, Mama Odessa is an autobiographical novel whose intertwined storylines follow a variety of people-dissidents, victims of ethnic discrimination, and black-marketers among them-as they bid farewell to their beloved home of Odessa, Ukraine, and make their way to the West. At the book's center is Boris, a young writer thwarted by state censorship and antisemitism during the twilight years of Soviet leader Leonid Brezhnev's sclerotic rule. With an Angora kitten for his companion and together with other émigrés, vulnerable, displaced, continually living out of a suitcase, he puts Russia in his rear-view mirror and sets out on a journey that will take him to Bratislava, Vienna, Rome, and New York on his way to Los Angeles. Will Boris be able to rekindle his creative passion and inspiration in the West? Will other Jewish émigrés fit into the new society, so much different than the one they'd left behind? With humor and compassion, Farewell, Mama Odessa describes the émigrés' attempts at adjustment to the free world.

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In these wrenching, elegant poems, Bruce Weigl writes out of uncompromising memory and vision. His subject is both the transport and anguish of being open to the lived and living moment. From bars and bedrooms, in Ohio and Nicaragua and Vietnam, his voice rises through the noise of history and habit to reach us with impeccable grace and remarkable invention.

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A bold comparative study illustrating the creative potential of translations that embrace mutuality and resist assimilation Cannibal translators digest, recombine, transform, and trouble their source materials. Isabel C. Gómez makes the case for this model of literary production by excavating a network of translation projects in Latin America that includes canonical writers of the twentieth century, including Haroldo and Augusto de Campos, Rosario Castellanos, Clarice Lispector, José Emilio Pacheco, Octavio Paz, and Angel Ráma. Building on the avant-garde reclaiming of cannibalism as an Indigenous practice meant to honorably incorporate the other into the self, these authors took up Brazilian theories of translation in Spanish to fashion a distinctly Latin American literary exchange, one that rejected normative and Anglocentric approaches to translation and developed collaborative techniques to bring about a new understanding of world literature. By shedding new light on the political and aesthetic pathways of translation movements beyond the Global North, Gómez offers an alternative conception of the theoretical and ethical challenges posed by this artistic practice. Cannibal Translation: Literary Reciprocity in Contemporary Latin America mobilizes a capacious archive of personal letters, publishers’ records, newspapers, and new media to illuminate inventive strategies of collectivity and process, such as untranslation, transcreation, intersectional autobiographical translation, and transpeaking. The book invites readers to find fresh meaning in other translational histories and question the practices that mediate literary circulation.

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A bold new conception of Heidegger’s project of Destruktion as a method of interpreting history For Martin Heidegger, our inherited traditions provide the concepts through which we make our world intelligible. Concepts we can also oppose, disrupt, and even exceed. First, however, if Western philosophy is our inheritance, we must submit it to Destruktion—starting with Aristotle. Heidegger and the Destruction of Aristotle: On How to Read the Tradition presents a new conception of Heidegger’s “destruction” as a way of reading. Situated between Nietzschean genealogy and Derridean deconstruction, this method uncovers in Aristotle the most vital originating articulations of the Western tradition and gives us the means to confront it. Sean D. Kirkland argues this is not a rejection of the past but a sophisticated and indeed timely hermeneutic tool—a complex, illuminating, and powerful method for interpreting historical texts at our present moment. Acknowledging the historical Heidegger as a politically compromised and still divisive figure, Kirkland demonstrates that Heideggerian destruction is a method of interpreting history that enables us to reorient and indeed transform its own most troubling legacies.

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Russian Formalism is widely considered the foundation of modern literary theory. This book reevaluates the movement in light of the current commitment to rethink the concept of literary form in cultural-historical terms. Jessica Merrill provides a novel reconstruction of the intellectual historical context that enabled the emergence of Formalism in the 1910s. Formalists adopted a mode of thought Merrill calls the philological paradigm, a framework for thinking about language, literature, and folklore that lumped them together as verbal tradition. For those who thought in these terms, verbal tradition was understood to be inseparable from cultural history. Merrill situates early literary theories within this paradigm to reveal abandoned paths in the history of the discipline—ideas that were discounted by the structuralist and post-structuralist accounts that would emerge after World War II.The Origins of Russian Literary Theory reconstructs lost Formalist theories of authorship, of the psychology of narrative structure, and of the social spread of poetic innovations. According to these theories, literary form is always a product of human psychology and cultural history. By recontextualizing Russian Formalism within this philological paradigm, the book highlights the aspects of Formalism’s legacy that speak to the priorities of twenty-first-century literary studies.

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This is the first book to dedicate scholarly attention to the work of Tarell Alvin McCraney, one of the most significant writers and theater-makers of the twenty-first century. Featuring essays, interviews, and commentaries by scholars and artists who span generations, geographies, and areas of interest, the volume examines McCraney’s theatrical imagination, his singular writerly voice, his incisive cultural critiques, his stylistic and formal creativity, and his distinct personal and professional trajectories. Contributors consider McCraney’s innovations as a playwright, adapter, director, performer, teacher, and collaborator, bringing fresh and diverse perspectives to their observations and analyses. In so doing, they expand and enrich the conversations on his much-celebrated and deeply resonant body of work, which includes the plays Choir Boy, Head of Passes, Ms. Blakk for President, The Breach, Wig Out!, and the critically acclaimed trilogy The Brother/Sister Plays: In the Red and Brown Water, The Brothers Size, and Marcus; Or the Secret of Sweet, as well as the Oscar Award–winning film Moonlight, which was based on his play In Moonlight Black Boys Look Blue.

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When Fyodor Dostoevsky proclaims that he is a ""realist in a higher sense,"" it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky's work, reading through the facts-the text-of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand.In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does ""White Nights"" ever escape the dream state? What is actually lost-and what is won-in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.

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The thirteen stories of "Dialogues in Paradise "are eloquent in a way the West associates with both the modern and the ancient: the dark oracles of Aeschylus and Sophocles, the paranoid mystery of Kafka, the moving stream of Woolf. The work of Can Xue (a pseudonym of Changsa writer Deng Xiao-hua) renews our consciousness of the long tradition of the irrational in our literature, where dreams and reality constitute one territory, its borders open, the passage back and forth barely discernible. She fuses lyrical purity with the darkest visions of the grotesque and the result is a unique literary experience

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Leopold Tyrmand, a Polish Jew who survived World War II by working in Germany under a false identity, would go on to live and write under Poland’s Communist regime for twenty years before emigrating to the West, where he continued to express his deeply felt anti-Communist views. Diary 1954—written after the independent weekly paper that employed him was closed for refusing to mourn Stalin’s death—is an account of daily life in Communist Poland. Like Czes?aw Mi?osz, Václav Havel, and other dissidents who described the absurdities of Soviet-backed regimes, Tyrmand exposes the lies—big and small—that the regimes employed to stay in power. Witty and insightful, Tyrmand’s diary is the chronicle of a man who uses seemingly minor modes of resistance—as a provocative journalist, a Warsaw intellectual, the ""spiritual father"" of Polish hipsters, and a promoter of jazz in Poland—to maintain his freedom of thought.

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The Letters and the Law explores the fraught relationship between writers and lawyers in the four decades following Alexander II's judicial reforms. Nineteenth-century Russian literature abounds in negative images of lawyers and the law. Literary scholars have typically interpreted these representations either as the common, cross?cultural critique of lawyerly unscrupulousness and greed or as an expression of Russian hostility toward Western legalism, seen as antithetical to traditional Russian values. The Letters and the Law is the first book to frame the conflict in terms of the two professions' competition for cultural authority.Anna Schur combines historical research and literary analysis to argue that the first generations of Russian trial lawyers shaped their professional identity with an eye to the celebrated figure of the writer and that they considered their own activities to be a form of verbal art. A fuller understanding of writers' antipathy to the law, Schur contends, must take into account this overlooked cultural backdrop. Laced with the better?known critique of the lawyer's legalistic proclivities and lack of moral principle are the writer's reactions to a whole network of explicit and implicit claims of similarity between the two professions' goals, methods, and missions that were central to the lawyer's professional ideal. Viewed in this light, writers' critiques of the law and lawyers emerge as a concerted effort at protecting literature's exclusive cultural status in the context of modernization and the rapidly expanding public sphere.The study draws upon a mix of well-known and rarely studied nineteenth-century authors and texts—with particular attention paid to Fyodor Dostoevsky and Mikhail Saltykov-Shchedrin—and on a wide range of nonliterary sources, including courtroom speeches, guides to forensic oratory, legal treatises, and specialized press.

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Hegel’s The Phenomenology of Spirit has been one of the most important works of philosophy since the nineteenth century, while the question of energy has been crucial to life in the twenty-first century. In this book, Michael Marder integrates the two, narrating a story about the trials and tribulations of energy embedded in Hegel’s dialectics. Through an original interpretation of actuality (Wirklichkeit) as energy in the Hegelian corpus, the book provides an exciting lens for understanding the dialectical project and the energy-starved condition of our contemporaneity. To elaborate this theory, Marder undertakes a meticulous rereading of major parts of the Phenomenology, where the energy deficit of mere consciousness gives way to the energy surplus of self-consciousness and its self-delimitation in the domain of reason. In so doing, he denounces the current understanding of energy as pure potentiality, linking this mindset to pollution, profit-driven economies, and environmental crises. Surprising and deeply engaged with its contemporary implications, this book doesn’t simply illuminate aspects of The Phenomenology of Spirit — it provides an entirely new understanding of Hegel’s ideas.

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While Dostoevsky's relation to religion is well-trod ground, there exists no comprehensive study of Dostoevsky and Catholicism. Elizabeth Blake's ambitious and learned Dostoevsky and the Catholic Underground fills this glaring omission in the scholarship. Previous commentators have traced a wide-ranging hostility in Dostoevsky's understanding of Catholicism to his Slavophilism. Blake depicts a far more nuanced picture. Her close reading demonstrates that he is repelled and fascinated by Catholicism in all its medieval, Reformation, and modern manifestations. Dostoevsky saw in Catholicism not just an inspirational source for the Grand Inquisitor but a political force, an ideological wellspring, a unique mode of intellectual inquiry, and a source of cultural production. Blake's insightful textual analysis is accompanied by an equally penetrating analysis of nineteenth-century European revolutionary history, from Paris to Siberia, that undoubtedly influenced the evolution of Dostoevsky's thought.

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The Virginal Mother in German Culture presents an innovative and thorough analysis of the contradictory obsession with female virginity and idealization of maternal nature in Germany from the late eighteenth to the early twentieth centuries. Lauren Nossett explores how the complex social ideal of woman as both a sexless and maternal being led to the creation of a unique figure in German literature: the virginal mother. At the same time, she shows that the literary depictions of virginal mothers correspond to vilified biological mother figures, which point to a perceived threat in the long nineteenth century of the mother's procreative power.Examining the virginal mother in the first novel by a German woman (Sophie von La Roche), canonical texts by Goethe, nineteenth-century popular fiction, autobiographical works, and Thea von Harbou's novel Metropolis and Fritz Lang's film by the same name, this book highlights the virginal mother at pivotal moments in German history and cultural development: the entrance of women into the literary market, the Goethezeit, the foundation of the German Empire, and the volatile Weimar Republic. The Virginal Mother in German Culture will be of interest to students and scholars of German literature, history, cultural and social studies, and women's studies.

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The Price of Literature examines the presence of theory in the nineteenth-century French novel, something Proust likened to leaving a price tag on a gift. Emerging after the French Revolution, what we now call literature was conceived as an art liberated from representational constraints. Patrick M. Bray shows how literature's freedom to represent anything at all has meant, paradoxically, that it cannot articulate a coherent theory of itself—unless this theory is a necessarily subversive literary representation, or “the novel's theoretical turn.”Literary thought, or the theory produced by the text, can only function by exploring what escapes dominant representations. The Price of Literature analyzes how certain iconic texts from the nineteenth century (by Mme de Staël, Hugo, Balzac, Flaubert, and Proust) perform a theoretical turn to claim the freedom to represent anything in the world, but also literature's ability to transform the world it represents. The conclusion, “Distributions of Literature,” advances a new way of thinking about literary scholarship—one based on how literature redistributes ways of writing by lending form to thought.

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William Warner’s Syrinx, or a Sevenfold History, may be the first English novel. Unlike others of the time, though, Warner wrote a realistic novel whose ancestors include the adventure stories of Alexandrine romance, and focus not on the tales of an aristocratic class but on the lives of middle-class individuals. Wallace A. Bacon’s critical edition brings Warner’s important novel—with its young protagonists being dragged through many adventures, tried and tested by Fortune, with their tales being brought to a close by auspicious gods—to life, preserving it and introducing it to new generations of readers. Bacon’s critical apparatus, including an extensive introduction, provides significant context for Warner’s work, assessing its key role in the history of the novel and in the history of early modern literature.

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More Than Life: Georg Simmel and Walter Benjamin on Art is the first book to trace the philosophical relation between Georg Simmel and his one-time student Walter Benjamin, two of the most influential German thinkers of the twentieth century.Reading Simmel’s work, particularly his essays on Michelangelo, Rembrandt, and Rodin, alongside Benjamin’s concept of Unscheinbarkeit (inconspicuousness) and his writings on Charlie Chaplin, More Than Life demonstrates that both Simmel and Benjamin conceive of art as the creation of something entirely new rather than as a mimetic reproduction of a given. The two thinkers diverge in that Simmel emphasizes the presence of a continuous movement of life, whereas Benjamin highlights the priority of discontinuous, interruptive moments.With the aim of further elucidating Simmel and Benjamin’s ideas on art, Stéphane Symons presents a number of in-depth analyses of specific artworks that were not discussed by these authors. Through an insightful examination of both the conceptual affinities and the philosophical differences between Simmel and Benjamin , Symons reconstructs a crucial episode in twentieth-century debates on art and aesthetics.

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When a case containing dismembered human remains surfaced in New York's East River in June of 1897, the publisher of the ""New York Journal"" - a young, devil-may-care millionaire named William Randolph Hearst - decided that his newspaper would ""scoop"" the city's police department by solving this heinous crime. Pulling out all the stops, Hearst launched more than a journalistic murder investigation; his newspaper's active intervention in the city's daily life, especially its underside, marked the birth of the Yellow Press. In a work that studies the rise and fall of this phenomenon, David R. Spencer documents the fierce competition that characterized yellow journalism, the social realities and trends that contributed to its success (and its ultimate demise), its accomplishments for good or ill, and its long-term legacy. Most notable among Hearst's competitors was New York City's ""The World"", owned and managed by a European Jewish immigrant named Joseph Pulitzer. ""The Yellow Journalism"" describes how these two papers and others exploited the scandal, corruption, and crime among the city's most influential citizens, and its most desperate inhabitants - a policy that made this ""journalism of action"" remarkably effective, not just as a commercial force, but also as an advocate for the city's poor and defenseless. Spencer shows how many of the innovations first introduced during this period - from investigative reporting to the use of color, entertainment news, and cartoons in papers - have had a lasting effect on journalism; and how media in our day reflects the Yellow Press's influence, but also its threatened irrelevance within the broader realities of contemporary society.

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New media are often greeted with suspicion by older media. The Fourth Estate at the Fourth Wall explores how, when the commercial press arrived in France in 1836, popular theater critiqued its corruption, its diluted politics, and its tendency to orient its content toward the lowest common denominator.July Monarchy plays, which provided affordable entertainment to a broad section of the public, constitute a large, nearly untapped reservoir of commentary on the arrival of the forty-franc press. Vaudevilles and comedies ask whether journalism that benefits from advertisement can be unbiased. Dramas explore whether threatening to spread false news is an acceptable way for journalists to exercise their influence. Hollinshead-Strick uses both plays and novels to show that despite their claims to enlighten their readers, newspapers were often accused of obscuring public access to information. Balzac’s interventions in this media sphere reveal his utopian views on print technology. Nerval’s and Pyat’s demonstrate the nefarious impact that corrupt theater critics could have on authors and on the public alike.Scholars of press and media studies, French literature, theater, and nineteenth-century literature more generally will find this book a valuable introduction to a cross-genre debate about press publicity that remains surprisingly resonant today.

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This book investigates what change is, according to Aristotle, and how it affects his conception of being. Mark Sentesy argues that change leads Aristotle to develop first-order metaphysical concepts such as matter, potency, actuality, sources of being, and the teleology of emerging things. He shows that Aristotle’s distinctive ontological claim—that being is inescapably diverse in kind—is anchored in his argument for the existence of change. Aristotle may be the only thinker to have given a noncircular definition of change. When he gave this definition, arguing that change is real was a losing proposition. To show that it exists, he had to rework the way philosophers understood reality. His groundbreaking analysis of change has long been interpreted through a Platonist lens, however, in which being is conceived as unchanging. Offering a comprehensive reexamination of the relationship between change and being in Aristotle, Sentesy makes an important contribution to scholarship on Aristotle, ancient philosophy, the history and philosophy of science, and metaphysics.

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A powerful debut collection exploring one family’s pursuit of the American Dream SebastiÁn H. PÁramo renders a semi-autobiographical collection, utilizing self-portraiture and memory to uncover how his Texan, working-class, Mexican American identity shapes his relationship to his stepbrother and to his family’s burning desire to become American.Portrait of Us Burning begins with the humble picture of an immigrant American family. This picture starts to disintegrate—and, ultimately, burns—with the need to understand an inciting event that haunts the family throughout the second half of the collection. As the poems gather force and the picture dissolves further, PÁramo asks us again and again: What does it mean to burn while becoming a part of a whole?

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Chasing Dragonflies: A Natural, Cultural, and Personal History is an engaging, beautifully illustrated introduction to these remarkable insects. Drawing on her experiences as a natural history instructor, dragonfly monitor, cancer survivor, grandmother, and steward, Crosby tells the stories of dragonflies: their roles in poetry and art, their fascinating sex life - unique within the animal kingdom - and their evolution from dark-water dwellers to denizens of the air. We follow Crosby and other citizen scientists into the prairies, wetlands, and woodlands of the Midwest, where they observe the environment and chronicle dragonfly populations and migration to decipher critical clues about our changing waterways and climate. Woven throughout are personal stories: reflections on the author's cancer diagnosis and recovery, change, loss, aging, family, joy, and discovering what it means to be at home in the natural world. Crosby draws an intimate portrait of a landscape teeming with variety and mystery, one that deserves our attention and conservation. As warm as it is informative, this book will interest gardeners, readers of literary nonfiction, and anyone intrigued by transformation, whether in nature or our personal lives.

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In David Barber's third collection of poetry, the past makes its presence felt from first to last. Drawing on a wealth of eclectic sources and crafted in an array of nonce forms, these poems range across vast stretches of cultural and natural history in pursuit of the forsaken, long-gone, and unsung.Here is the stuff of lost time unearthed from all over: ballyhoo and murder ballad, the lacrimarium and the xylotheque, the Game of Robbers and the Indian Rope Trick, the obsolete o'o, the old-school word hoard, sunshowers and beaters and breaker boys. Here, to mark the twilight of print and type, are gleanings and borrowings from a mixed bag of throwback bound volumes: The Magic Moving Picture Book, Mandeville's Travels, The Golden Bough, Franklin Arithmetic, The Millennial Laws of the Shakers, A Conjuror's Confessions.Here too are guiding spirits whose like will not pass this way again: Cab Calloway at the Cotton Club; Henry Walter Bates in darkest Amazon; George Catlin among the Choctaw; Little Nemo in Slumberland; Yogi Berra in all his oracular glory. Reveling in vernacular lingo of every vintage even while brooding on dark ages without end, Secret History chronicles a world of long shadows and distant echoes that bears more than a passing resemblance to our own.

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Chicago is home to more intact African American street murals from the 1970s and 1980s than any other U.S. city. Among Chicago’s greatest muralists is the legendary William “Bill” Walker (1927–2011), compared by art historians to Diego Rivera. Francis O’Connor, America’s foremost mural historian, called Walker the most accomplished contemporary practitioner of the classical mural tradition that runs from Giotto to Rivera.Though his art could not have been more public, Walker maintained a low profile during his working life and virtually withdrew from the public eye after his retirement in 1989. Author Jeff W. Huebner met Walker in 1990 and embarked on a series of insightful interviews in 2008. Those meetings form the basis of Walls of Prophecy and Protest, the story of Walker’s remarkable life and the movement that he inspired.Featuring thirty-five color images of Walker’s work, this handsome edition reveals the artist who was the primary figure behind Chicago’s famed Wall of Respect and who created numerous murals that depicted African American historical figures; protested social injustice; and centered imagination, love, respect, and community accountability.

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Assessing the relevance of Tolstoy's thought and teachings for the current day, Tolstoy and His Problems: Views from the Twenty-First Century is a collection of essays by a group of Tolstoy specialists who are leading scholars in the humanities and social sciences.In the broadest sense—with essays on a variety of issues that occupied Tolstoy, such as nihilism, mysticism, social theory, religion, Judaism, education, opera, and Shakespeare—the volume offers a fresh evaluation of Tolstoy's program to reform the ways we live, work, commune with nature and art, practice spirituality, exchange ideas and knowledge, become educated, and speak and think about history and social change.

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This bibliography lists the books, paintings, and portraits of the mystic Irish poet George William Russell, best known by his pseudonym, “AE.” Russell was a late nineteenth-and early twentieth century Irish poet and essayist whose first book of poems, Homeward: Songs by the Way (1894), established him in what was known as the Irish Literary Revival.

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The world is made of seductions. In Quincy Troupe's Seduction, the ""I"" becomes the ""Eye,"" serving as metaphor and witness in a narrative compilation from a master of poetic music. Elegies and dramatic odes look at the seduction of all things loved or hated, especially the man made of color. How did the killings of Michael Brown, Tamir Rice, and Trayvon Martin seduce the public's eye and catch the fire of racism? How did Aretha Franklin seduce us with voice and twang? How does the art of Romare Bearden or Jack Whitten still tell our truths, fantasies, and oppressions?time is a bald eagle, a killer soaring high in the blue, / music to men dodging bullets in speeding cars, / knew death, hoped it'd never come . . .In this collection we are seduced by Troupe's opus. This is the poet's art laid bare. He is our ""Eye."" Visions of the transatlantic slave trade, portraits of American violence, pop culture, and historical voices are the lyrical relics in Troupe's masterful verse. One of American literature's most important rhythmical artists, Troupe has created a chronicle reaching through history for the collective ""I/Eye"" that is all of us.

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In Scandinavian Elements of “Finnegans Wake,” Dounia Bunis Christiani addresses herself to an enormous task: examining the significance of Scandinavian history, literature, and languages for the composition of James Joyce’s masterwork. Whereas critical studies of Joyce tend to fall into two categories—those exploring the philosophical grounding of his works and those providing close textual readings—the significance of Christiani’s work lies in her deep historical and cultural analysis.

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In Yeats's Shakespeare, the first full-length study of Yeats’s interest in Shakespeare, Rupin W. Desai explores how Shakespearean works influenced Yeats’s poetry and mythological drama. Exploring Shakespeare’s sonnets and Yeats’s poetry, Desai illustrates the deep degree to which Yeats identifies with Shakespeare, even to the extent of including some of Shakespeare’s heroes in his own late poetry. Yeats’s Shakespeare also includes an appendix that lists in detail all of Yeats’s references to Shakespeare’s works.

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Paul Kent Alkon’s Samuel Johnson and Moral Discipline provides reading of Johnson that emphasizes his moral discourse. Shortly after its publication, Alkon’s book became first of all the standard reading of Johnson’s essays, contrasting them with the moral ideas Johnson discussed in his sermons, as moral writings, and second, as one of the first books on Johnson to explore the essayist’s focus on moral thinking as central to his writing.

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Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency. Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and suppported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art. What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties. Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.

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Unorthodox Beauty shows how Russian poets of the early twentieth century consciously adapted Russian Orthodox culture in order to create a distinctly religious modernism. Martha M. F. Kelly contends that, beyond mere themes, these writersdeveloped an entire poetics that drew on liturgical tradition. Specifically, Russian Orthodoxy held out the possibility of unifying spirit and matter, as well as a host of other dichotomies—subject and object, empirical and irrational, noumena and phenomena. The artist could produce a work of transformative and regenerative power. Using a range of crossdisciplinary tools, Kelly reads key works by Blok, Kuzmin, Akhmatova, and Pasternak in ways that illustrate how profoundly religious traditions and ideas shaped Russian modernist literature.

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Mary Zimmerman’s The Secret in the Wings adapts a group of lesser-known fairy tales to create a theatrical work that sets their dark mystery against her signature wit and humour. The framing story concerns a child and the frightening babysitter with whom her parents leave her. As the babysitter reads from a book, the characters in each of the tales materialise, with each tale breaking off just at its bleakest moment before giving way to the next one. The central tale is told without interruption, after which each previous tale is successively resumed, with each looming disaster averted. As in Zimmerman’s other productions, here she uses costumes, props, sets, and lighting to brilliant effect, creating images and feelings that render the fairy tales in all their elemental and enduring power.

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Tanja Stähler and Alexander Kozin’s elegant translation of Bernhard Waldenfels’s Phenomenology of the Alien (Grundmotive einer Phänomenologie des Fremden) introduces the English readership to the philosophy of alien-experience, a multifaceted and multidimensional phenomenon that permeates our everyday experiences of the life-world with immediate implications for the ways we conduct our social, political, and ethical affairs. With impressive erudition Waldenfels weaves in xenological themes from classical philosophy, contemporary phenomenology, literature, linguistics, sociology, and anthropology to address the boundaries of experience that unite and separate human beings, their collectives, their perceptions, and aspirations. While the debate has long raged in German-speaking circles, Waldenfels’s work is largely unavailable to the English-speaking audience, with the only other translation being The Order in the Twilight (1996). Phenomenology of the Alien is a superb introduction to both xenological phenomenology, and the the question of the alien as it has been unfolding in contemporary thought.

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The tale of a poet's tragicomic last days in Venica; What was the fate of Stanislav Perfetsky - poet, provocateur, and hero of Ukrainian underground culture? Certain evidence points to suicide. But some whisper murder. Some suggest the grand Eastern European tradition of coerced suicide. It may be related to the religious cult ceremony he unluckily happened upon in Munich...or that job as a dancer in a strip club for older women. Or, then again, it may not. Perverzion reconstructs Perfetsky's final days using a mishmash of relics, from official documents to recorded interviews to scraps of paper. Perfetsky, the personification of the Ukrainian artistic superman (for example, he plays countless musical instruments so well he collaborated with Elton John during the star's secret sojourn in Ukraine), is bound for Venice to participate in a seminar to save the world from its absurdity. On the way he becomes a Ukrainian Orpheus, descending into the sophisticated decadence of the West, navigating through surrealistic adventures and no less surrealistic seminar topics as he charges head up (and pants down) toward his fate. A work of sly, subversive humor and fantastic wordplay, Perverzion is a look into the new Ukraine's post-Soviet literary culture by one of the country's fore-most contemporary writers.

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After serving time in mainland Italy for a minor theft, Elias Portolu returns home to Nuoro, in rural Sardinia. Lonely and vulnerable after his prison exile, he falls in love with his brother's fiancée. But he finds himself trapped by social and religious strictures, his passion and guilt winding into a spiral of anguish and paralysing indecision. For guidance he turns first to the village priest, who advises him to resist temptation; then he turns to the pagan "father of the woods," who recognises the weakness of human will and urges him to declare his love before it is too late.

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Published to acclaim in 1977, this controversial novel of ideas follows Konrad Rutkowski - professor of medieval history and former Gestapo officer - as he returns to the scene of his war crimes determined to renounce, or perhaps justify, his Nazi past. In a series of letters to a brother-in-law, Rutkowski lays out his ambivalent reactions to war and unthinkable violence, connecting his own swirling ideas to those of some of the major figures of European thought: Plato, St. Augustine, Descartes, Nietzsche, Freud, and others. But the novel is more than an intellectual meditation. Pekic was himself a frequent political agitator and occasional prisoner, and he drew on his first hand knowledge of police methods and life under totalitarianism to paint a chilling portrait of an intellectual acting as a tool of repression. At the same time he questions whether Rutkowski's ideology puts him outside the philosophical tradition he so admires - or if the line separating it from totalitarianism is not as clear as we like to think.

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The Crisis of European Sciences and Transcendental Phenomenology, Husserl's last great work, is important both for its content and for the influence it has had on other philosophers. In this book, which remained unfinished at his death, Husserl attempts to forge a union between phenomenology and existentialism.

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Author Steven J. Harper pays tribute to a well-respected teacher with this biography of a distinguished William Smith Mason Professor of History at Northwestern University, Richard W. Leopold. Harper had maintained contact with his former professor, as had hundreds of other alumni, meeting with him in the apartment to which his age and health confined him. When Leopold invited him to review his biographical materials to prepare a New York Times obituary, Harper began to catch glimpses of a deeper history in Leopold's life: that of Jews in America after the turn of the century.Across two years of Sundays, Leopold's life came together and Harper began to notice parallels between the life of his professor and the life of his recently deceased father-in-law. Both grew up in less orthodox households but were still identified as Jewish by others; both attended Ivy League colleges, fighting (and beating) anti-Semitism there; and both served their country with distinction in World War II. The two men persevered through a twentieth century Jewish-American experience that they and many others shared, but rarely discussed. Steven Harper has caught them both on the page just in time to document their lives, their culture, and the nation that grew and changed alongside them.

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A bold new conception of Heidegger’s project of Destruktion as a method of interpreting history For Martin Heidegger, our inherited traditions provide the concepts through which we make our world intelligible. Concepts we can also oppose, disrupt, and even exceed. First, however, if Western philosophy is our inheritance, we must submit it to Destruktion—starting with Aristotle. Heidegger and the Destruction of Aristotle: On How to Read the Tradition presents a new conception of Heidegger’s “destruction” as a way of reading. Situated between Nietzschean genealogy and Derridean deconstruction, this method uncovers in Aristotle the most vital originating articulations of the Western tradition and gives us the means to confront it. Sean D. Kirkland argues this is not a rejection of the past but a sophisticated and indeed timely hermeneutic tool—a complex, illuminating, and powerful method for interpreting historical texts at our present moment. Acknowledging the historical Heidegger as a politically compromised and still divisive figure, Kirkland demonstrates that Heideggerian destruction is a method of interpreting history that enables us to reorient and indeed transform its own most troubling legacies.

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This volume marks a new chapter in the long-standing debate between Jacques Derrida and Michel Foucault regarding argumentative methods and their political implications. The essays chart the undertheorized dialogue between the two philosophers on questions of life, death, punishment, and power—an untapped point of departure from which we might continue to read the convergence and divergence of their work. What possibilities for political resistance might this dialogue uncover? And how might they relate to contemporary political crises?With the resurgence of fascism and authoritarianism across the globe, the rise of white supremacist and xenophobic violence, and the continued brutality of state-sanctioned and extrajudicial killings by police, border patrols, and ordinary citizens, there is a pressing need to critically analyze our political present. These essays bring to bear the critical force of Derrida's and Foucault's biopolitical thought to practices of mass incarceration, the death penalty, life without parole, immigration and detention, racism and police violence, transphobia, human and animal relations, and the legacies of colonization. At the heart of their biopolitics, the volume shows, lies the desire to deconstruct and resist in the name of a future that is more just and less policed. It is this impulse that makes reading their work together, at this moment, both crucial and worthwhile.

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This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity.Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies.

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The Buck, the Black, and the Existential Hero: Refiguring the Black Male Literary Canon, 1850 to Present combines philosophy, literary theory, and jazz studies with Africana studies to develop a theory of the black male literary imagination. In doing so, it seeks to answer fundamental aesthetic and existential questions: How does the experience of being black and male in the modern West affect the telling of a narrative, the shape or structure of a novel, the development of characters and plot lines, and the nature of criticism itself? James B. Haile argues that, since black male identity is largely fluid and open to interpretation, reinterpretation, and misinterpretation, the literature of black men has developed flexibility and improvisation, termed the “jazz of life.” Our reading of this literature requires the same kind of flexibility and improvisation to understand what is being said and why, as well as what is not being said and why. Finally, the book attempts to offer this new reading experience by placing texts by well-known authors, such as Frederick Douglass, Ralph Ellison, and Colson Whitehead, in conversation with texts by those who are less well known and those who have, for the most part, been forgotten, in particular, Cecil Brown. Doing so challenges the reader to visit and revisit these novels with a new perspective about the social, political, historical, and psychic realities of black men.

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Capital Letters sheds new light on how literature has dealt with society’s most violent legal institution, the death penalty. It investigates this question through the works of three major French authors with markedly distinct political convictions and literary styles: Victor Hugo, Charles Baudelaire, and Albert Camus. Working at the intersection of poetics, ethics, and law, Ève Morisi uncovers an unexpected transhistorical dialogue on both the modern death penalty and the ends and means of literature after the French Revolution. Through close textual analysis, careful contextualization, and the critique of violence forged by Giorgio Agamben, Michel Foucault, and RenÉ Girard, Morisi reveals that, despite their differences, Hugo, Baudelaire, and Camus converge in questioning France’s humanitarian redefinition of capital punishment dating from the late eighteenth century. Conversely, capital justice leads all three writers to interrogate the functions, tools, and limits of their art. Capital Letters shows that the key modern debate on the political and moral responsibility, or autonomy, of literature crystallizes around the death penalty. Inflecting traditional modes of representation and writing self-reflexively or self-critically, Hugo, Baudelaire, and Camus unsettle the commonly accepted divide between strictly aesthetic and politically committed writing. Form, rather than overtly political argument, at once conveys an ethical critique of justice and reflects on the possibilities, and duties, of literature.

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First published in German in 1940 and widely recognized as a classic of philosophical anthropology, Laughing and Crying is a detailed investigation of these two particularly significant types of expressive behavior, both in themselves and in relation to human nature. Elaborating the philosophical account of human life he developed in Levels of Organic Life and the Human: An Introduction to Philosophical Anthropology, Plessner suggests that laughing and crying are expressions of a crisis brought about in certain situations by the relation of a person to their body.With a new foreword by J. M. Bernstein that situates the book within the broader framework of Plessner's philosophical anthropology and his richly suggestive and powerful account of human bodily life, Laughing and Crying is essential reading for anyone interested in the philosophy of the body, emotions, and human behavior.

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Merleau-Ponty's Developmental Ontology shows how the philosophy of Maurice Merleau-Ponty, from its very beginnings, seeks to find sense or meaning within nature, and how this quest calls for and develops into a radically new ontology. David Morris first gives an illuminating analysis of sense, showing how it requires understanding nature as engendering new norms. He then presents innovative studies of Merleau-Ponty's The Structure of Behavior and Phenomenology of Perception, revealing how these early works are oriented by the problem of sense and already lead to difficulties about nature, temporality, and ontology that preoccupy Merleau-Ponty's later work. Morris shows how resolving these difficulties requires seeking sense through its appearance in nature, prior to experience—ultimately leading to radically new concepts of nature, time, and philosophy.Merleau-Ponty's Developmental Ontology makes key issues in Merleau-Ponty's philosophy clear and accessible to a broad audience while also advancing original philosophical conclusions.

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Nowhere to Arrive takes as its subjects the whiplash of travel, the shuttling between disparate places and climes, and an unremitting sense of dislocation. These poems court the tension between the familiar and the foreign, between the self as distinct and the self as illusory. They look plainly at the startling strangeness of varied landscapes and mindscapes, and interrogate a state of unrootedness - one thrown into relief by the speaker's years abroad in Southeast Asia.At the chapbook's center are two long poems, titled "Phnom Penh Diptych: Wet Season" and "Phnom Penh Diptych: Dry Season," that examine the escapist narratives that draw tourists and expatriates to Cambodia, and the speaker's own privileged positioning.On a formal level, the poems in Nowhere to Arrive make room for the unsaid and that which cannot be articulated. Here, we have a vocabulary of silence alongside stark imagistic juxtapositions, poems that celebrate compression and the force of paratactic constructions. Attentiveness and concentration emerge as virtues, as the speaker surveys the vast territory of the present with a wakeful gaze.

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All the time when I lived in Algeria, my native country, I dreamt of one day arriving in Algeria. Born in Oran, Algeria, Helene Cixous spent her childhood in France's former colony. ""Reveries of the Wild Woman"" is her visceral memoir of a preadolescence that shaped her with intense feelings of alienation, yet also contributed, in a paradoxically essential way, to her development as a writer and philosopher. Born to a French father and an Austro-German mother, both Jews, Cixous experienced a childhood fraught with racial and gender crisis. In her moving story she recounts how small events - a new dog, the gift of a bicycle - reverberate decades later as symbols filled with social and psychological meaning. She and her family endure a double alienation, by Algerians for being French and by the French for being Jewish, and Cixous builds her story on the themes of isolation and exclusion she felt in particular under the Vichy government and during the Algerian Civil War. Yet she also concedes that memories of Algeria awaken in her a longing for her home country, and ponders how that stormy relationship has influenced her life and thought. A meditation on postcolonial identity and gender, ""Reveries of the Wild Woman"" is also a poignant recollection of how a girl's childhood is, indeed, author to the woman.

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