Search results for ""fairleigh dickinson university press""

The Reflective, Facilitative and Interpretive Practices of the Coordinated Management of Meaning: Making Lives, Making Meaning, showcases practical applications of the theory of Coordinated Management of Meaning (CMM). In the facilitation section, CMM creates dynamics within groups leading toward improved ways of working together; in the interpretation section CMM offers alternative frames to interpret interactions with one another; and in the reflection section CMM is a means to reflect on experiences and interactions to deeper levels of understanding and learning. CMM is grounded in social constructionism, takes a communication perspective and provides concepts and tools for making better social worlds.

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Scottish playwright and poet Joanna Baillie (1762–1851) is a key figure in British Romantic-era theater. In recent years her writings have returned to print, her plays have been performed in North America and the United Kingdom, and she has been the subject of several monographs and a biography. This new edition of Further Letters follows the 1999 FDUP publication of Baillie's Collected Letters and brings together some two hundred and seventy new or uncollected letters. The new edition includes significant letters written to Walter Scott, Robert Southy, and Felicia Hemans. It also provides new information regarding Baillie's relationship with her contemporaries, her publishers, and the London theater world.

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The book reflects on the life and work of a significant poet, public figure, and influential commentator of the cultural, social, and political history of Greece post-World War II: Manolis Anagnostakis (1925–2005). It considers his oeuvre in relation to the work of his peers and to traditions of writing, both Greek and non-Greek, as it challenges the assumptions and determinations of his critics. The volume explores the author’s sustained reflection on what it is poetry “does,” if anything, and how it goes about this at different historical moments. It does so through the framework of his political and social perspectives as well as against principles of committed action, above all, to leftist ideas and movements. For Anagnostakis is vitally important for thinking about the relation of politics to poetics and the complex, and in some quarters contradictory, relation of leftist politics and the travails of (euro)communism to poetry and literature. This analysis, therefore, coincides with the larger questioning of the role for the Left post-1989. The volume focuses not only on the poet’s canonical poetry up to 1971, but also on the period of his subsequent, self-imposed “silence” and his other “meta-poetic” writings after that date. Two of Anagnostakis’s previously unavailable late collections and a posthumously published interview with the poet appear here in English translation for the very first time. Coming but a few years after the poet’s death in 2005, this rare book-length study of a single Greek poet (other than Cavafy) features articles by leading critics from the American academy. Like Anagnostakis’s own work, these contributions represent a diverse range of approaches and voices: at turns essayistic, impressionistic, and creative, and, at others, scholarly, punctilious, and critical.

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Theatrical performance is the most ephemeral of arts. Once a production closes, the living work of art disappears. Fortunately, some productions leave behind enough evidence to reconstruct in words and pictures what a performance was like and to conjecture what the audience saw and heard. Between 1889 and 1995 in America, productions of Sophocles' Electra became the project of some of the most significant directors, actresses, and producers of their day. In reconstructing eleven major productions, this book seeks to accomplish two goals: first, to preserve, albeit in imperfect written form, the productions themselves; and, second, by tracing the history of Electra's production, to highlight some of the most pivotal figures in the development of American theater, including several key women often neglected by theater historians. Along the way, for those who celebrate Greek tragedy in production, this book will allow the reader to sit vicariously in the audience and enjoy seven Electra productions on the American stage.

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Using original sources - such as newspaper articles, silent movies, letters, autobiographies, and interviews - Ilaria Serra depicts a large tapestry of images that accompanied mass Italian migration to the U.S. at the turn of the twentieth century. She chooses to translate the Italian concept of immaginario with the Latin imago that felicitously blends the double English translation of the word as 'imagery' and 'imaginary'. Imago is a complex knot of collective representations of the immigrant subject, a mental production that finds concrete expression; impalpable, yet real. The 'imagined immigrant' walks alongside the real one in flesh and rags.

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Circumstances placed John Redmond and the Irish Parliamentary Party at the center of British politics in 1912. After more than a century of struggle, Irish nationalists looked likely to return a parliament to Dublin that would allow the Irish people, as one nation, to determine their own domestic affairs. Staunch Ulster Unionists stood in opposition, determined to reject Home Rule for their region. Alongside them were Unionist Party members who declared that such an action would destroy the British Empire, wreck the constitution, and possibly foment a civil war. Over the next decade, the Home Rulers saw their cause betrayed and their party destroyed. Asquith, Lloyd George, and Winston Churchill all served to undercut Redmond and his supporters in the interests of political expediency. Four years of war in Europe, followed by four years of conflict in Ireland, led to a more radical approach to the Irish question that allowed Sinn Fein and the Irish Republican Army to make the nationalist cause their own. By 1922, Eamonde Valera, Michael Collins, James Craig and their followers took possession of a divided Ireland embittered by the enmity of two Irish identities and the strains of factional strife.

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For decades scholarship on Federico Fellini has focused on the figure of the director himself, while formal analysis based on the craft of filmmaking has been largely ignored. Fellini spent countless hours in the studios of Cinecitta recording, mixing, and editing music, voices, and sound effects for his films, but his unique and often revolutionary uses of cinematic sound have never been systematically studied. This book reveals the singularly important role played by music in the construction of meaning in Fellini's black and white feature-length films, and presents a substantial re-reading of the seven films made during the most creative period of Fellini's artistic development: The White Sheik, I vitellini, La strada, Il bidone, The Nights if Cabiria, La dolce vita, and 8 1/2. The editing of music in Fellini's first films represents an entirely new approach to cinematic sound. The sophistication and complexity of Fellini's soundtracks far surpasses the neorealist models that are often assumed to form the practical foundation of Fellini's earliest works, and an analysis of the editing of music in these films reveals extraordinary innovation in the pairing of music and visual image. Although these films may often seem visually conventional, the soundtracks- characterized by abrupt cuts, comic synchronization with the visual image, unrealistic passages between nondiegetic and diegetic musical sources, and the coexistence of diegetic sources with nondiegetic musical accompaniment- undermine the verisimilitude of the projected image, facilitate aesthetic distance, and emphasize artifice at the expense of 'reality.' Functioning as an ironic, often dissonant counterpoint to the narrative structure of the visual images, the manifestly artificial editing of music in Fellini's films questions the verisimilitude of cinematic narration by revealing the interpenetratin of representation and reception, being and seeming, history and story, 'truth' and fiction.

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In Corpore collects essays devoted to the critical exploration of the presence and impact of bodies in recent and contemporary Italian cultural production, in light of current developments in thinking about bodies and their locations within cultures. The prominent position occupied by the body in Italian culture is at once undeniable and problematic. Dominant perspectives continue to inform a large number of representations of Italy and of Italians, and many of these images are deeply dependent on conceptualizations of bodies, of their roles, functions, and relative positions. Whether we are talking of models of masculinity, of gendered roles within the Italian family or of the infamous cliche of the 'bella figura,' the tendency is for such images to produce unified singular interpretations of 'Italian culture' and to assign stable locations to 'Italian bodies' within it. The essays included in the present volume, on the other hand, assume a pluarlity of conceptions of 'culture' and of 'the body.' Part I looks at the way in which images of 'Italy"'and of 'Italians' have been formed and distributed by writers, artists, politicians, and scientists. The second half of the volume concentrates on literary representations of the body produced by authors such as Verga, Pozzi, Cassola, Pasolini, Tabucchi, and Santacroce. Contributors explore national, subnational, and intranational models of culture, while the authors and works examined range from the world of 'canonic' literature to that of marginal subcultures. A variety of media and modes of representation are brought into focus, from the visual arts, to cinema, literature, travel writing, 'scientific' prose, documentary photography, and even X-rays. This collection will be of interest to scholars and students of Italian culture, teachers of Italian, historians, and art historians with interests in contemporary Italy, as well as to scholars and students of gender and cultural studies. Recent years have seen an exponential growth in critical and theore

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This volume is intended as complementary to Mediterranean Crossroads: Migration Literature in Italy that traced the changes in literature written by migrants in Italy from 1990 to the end of that decade. The short stories and excerpts from novels included in that volume concentrated on very specific themes such as exile, displacement, cultural fragmentation, otherness, racism, and other concerns that are characteristic of the writings of a first generation migrants. The goal of this new collection is to provide both scholars and students of global migrations with further examples of the wealth of literary material created by migrants to Italy. These migrants come from a vast number of countries in Africa, Asia, Eastern Europe, South America, and the Middle East. The authors included here are not intended to reflect demographic percentages, but rather a cross-section and sampling of the current literary production. The texts included in this new volume demonstrate that not only has the number of published texts by migrant writers multiplied in just a few short years, but that the level of sophistication in the writings has also markedly increased. The topics discussed vary widely from text to text, and the most recognizable differences between these texts and those included in Mediterranean Crossroads is the widespread use of humor in the newer writings, even in discussions of painful situations of isolation and racism. Some authors, such as Christiana de Caldas Brito, Tahar Lamri, and Yousef Wakkas, were included in Mediterranean Crossroads. Their works here illustrate the changes in what might have earlier been classified as Italophone literature. Other authors in this volume.com plicate any simplistic notions of what migration literature in Italian is, and what Italian literature itself is. This directly challenges traditional discourses regarding national literatures, and demonstrates that migration literature in Italy is no passing phenomenon: it is here to stay. Migration litera

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This volume is meant to introduce Elfriede Jelinek's diverse body of writing to the English-speaking public. Moreover, this collection of essays is not only of interest to scholars but also to teachers and students of literature alike. Fourteen scholars provide apprehensive comments on Jelinek's various contributions to world literature and its contexts in contemporary politics and culture. Their articles offer incisive interpretations and innovative analysis of the writer's provocative works, discussing her critical influence both on the German and European literary scene. The book's title Writing Woman, Nation, and Identity echoes the main themes in Jelinek's oeuvre: Writing as a woman and her negotiations of identity and place in Western society, writing on notions of belonging and exclusion, writing against historical myths and amnesia, and writing to keep the memory of the victims of fascism alive.

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A myth has grown that there were no traitors during the period leading up to the American Civil War. Edward S. Cooper debunks that myth in this book. He provides documentation that officers on active duty in the army and navy of the United States secretly negotiated for positions in the Confederacy, surrendered their ships, forts, and posts to state authorities, conspired in the seizure of other forts, deserted their posts and advised their subordinates to join them, and wrote letters detailing how the Confederacy could defeat the very army and navy in which they were serving. Members of the president's cabinet ensured southern arsenals were stocked with northern weapons, posted southern sympathizers to forts and arsenals in the south, and sold weapons to agents for states that had announced their intention to secede and gave southern states of Federal troop movements, obtain plans of arsenals and forts and how they were manned, and acquire lists of military officers along with their pay in order to seduce them into Confederate service. The governors of some slave-holding states had men seize forts and arsenals, burned bridges to impede the movement of Federal troops, and allowed Confederate troops into their states before they had seceded or even called conventions to consider secession. In her 1904 memoir, Virginia Clay referred to the Secession period as a time when "men eyed each other warily and spoke guardedly, save to the most tried and proved friend. Many a scene secret, grave, and treasonable took place those last lowering weeks." The author has ferreted out those who spoke and acted guardedly as well as those who spoke and acted openly, committing treason while holding office or commissions and having sworn allegiance to the Constitution, distinguishing them from others who, like Virginia's husband Senator Clement Clay of Alabama, resigned their offices or commissions before acting on behalf of the Confederacy. This is a rogues' gallery of the dishonorable or disingenuous. The author has thorou

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This is the first modern selection of the poetry of Ebenezer Elliott (1781-1849), best known in literary history as the self-styled 'Corn Law Rhymer' because of his savage satirical poems published in the 1830s. This edition, with a full introduction, note on the text, bibliography, and chronology, together with explanatory notes, brings Elliott's work into the public domain for the first time since his death. It will be of interest to students of Victorian literature and history, and indeed to anyone interested in the politics, poetics, aesthetics, and social history of the nineteenth century. Elliott's poetry is of much more than merely historical interest, just as his work is wider in its reach than his concern with the Corn Laws: there is much here that is personal, even elegiac, and much that is celebratory of his beloved Yorkshire countryside, especially around Rotherham, where he was born, and Sheffield, where he spent most of his adult life. His radical views retain their resonance today. This selection includes poems from all the stages of his long career, with lengthy extracts from The Village Patriarch, The Ranter, The Splendid Village, The Corn Law Rhymes, and many of his numerous miscellaneous poems.

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Shakespearean Performance: New Studies contains ten essays in Shakespearean performance scholarship, plus an introduction by the editor. They are papers presented at Drew University by some of the best Shakespearean scholars in the field: Andrew Gurr, Jean Howard, Arthur Kinney, Harry Keyishian, Russell Jackson, Corey Abate, Cary Mazer, Milla Riggio, Ralph Berry, and James Bulman. The essays cover such areas as the new Globe playhouse, the staging of certain plays, the film versions of several plays, cross-dressing, and the play-within-the-play, as well as other areas of interest to students of Shakespearean performance. The ten essays collected together here are all in the field of Shakespearean performance studies. They represent the areas of stage history, performance structure, Shakespeare on film, the physical playhouse, the phenomenon of cross-dressing, and cultural history reflected in stage direction.

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Notes of Conversations, 1848-1875 is a volume of transcripts of conversations conducted by the nineteenth-century American philosopher and educator A. Bronson Alcott at various locations in New England and the Midwest. The transcripts have been copied from unpublished manuscripts in the Alcott collection at Harvard University and Concord Free Library, as well as published contemporary articles in The Radical, New York Tribune, and Chicago Tribune. Gathered in this volume, Alcotts transcripts vividly reflect American intellectual concerns from the years preceding the Civil War through the beginning of the Gilded Age. In this set of remarkable documents, Alcott holds conversations on broad aspects of human culture, on literature, on philosophical idealism, on women's roles and accomplishments, on abolition a whole range of social, literary, and religious reforms. Because women made up a significant portion of Alcotts enthusiastic participants, the transcripts allow us to witness their commitment to self-culture through a popular social phenomenon at a time when most middle- and upper-class women were not able to pursue college educations. The transcripts make us privy to the oral performances of some of the most important reformers of the nineteenth century, men and women such as Ralph Waldo Emerson, Thomas Wentworth Higginson, William Lloyd Garrison, Elizabeth Peabody, and Caroline Healey Dall. Further, lists of attendees at these public conversations show that this talking phenomenal extended beyond the well-known writers, thinkers, and reformers of the age to hundreds of men and women in nineteenth-century New England and Midwestern societies.

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Christian Moraru's new book on postmodernism zeroes in on postmodern representation, which the critic seizes as a literary and cultural memory receptacle - as 'memorious discourse'. He argues that, counter to the orthodoxies that have taken hold in postmodern studies, postmodernism is not ahistorical, without cultural memory, or politically apathetic. With a wink at Borges's short story 'Funes the Memorious', he contends that this kind of representation cannot but operate digressively, and conspicuously so, through other representations, and is a picture that must latch onto other pictures to bring its object to life. While other types of discourse cover up, gloss over, or play down what they have borrowed - and therefore owe - the postmodern eagerly acknowledges its textual and cultural debt. Moreover, it turns this indebtedness into an unexpected source of creativity and originality . In his wide-ranging discussion of contemporary writers and theorists, Moraru notes that postmodernism characteristically re-presents. That is, it actively 'remembers' and, to use a musical term, 'reprises' former representations. These need not be infinite in number, as in Borges, but must be and usually are retrieved with sufficient obviousness. Memorious Discourse is organized into a largely theoretical prologue, five chapters, and an epilogue. The chapters mark off as many areas in recent Continental and American theory and narrative where the discourse apparatus, workings, and individualizing problems of postmodern representation come to light and lend themselves to rethinking through the Borgesian-inspired critical metaphor. To gauge the scope of memorious discourse, Moraru examines theoretical and narrative models developed by such writers and critics as Vladimir Nabokov, Thomas Pynchon, Don DeLillo, Joseph McElroy, Paul Auster, Kathy Acker, Toni Morrison, Philip Roth, William Gibson, Mark Leyner, David Antin, Emmanuel Levinas, Jean-Francois Lyotard, Jean Baudrillard, Michel Foucault, Jean-Luc Nancy, Philippe

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Narrative Fissures: Reading and Rhetoric is a guide to applied rhetorical criticism of narrative in diverse fields such as cultural studies, ethnography, psychotherapy, historiography, critical legal studies, education, communication, and medicine. The book offers an interdisciplinary toolbox for reading and writing by mapping textual sites as fissures, points of entry for critical reading. These fissures range from short phrases analyzed in the introduction to the fissures of prefacing, framing, textual voices, and gaps discussed in relation to individual texts in part I. Theoretical understanding of rhetorical analysis is combined with technical application of the concept of fissures to suggest methods of reflectively reflexive reading. This section of the book demonstrates techniques of textual entry and analytic anchoring, looking at framing, vocal multiplicity, and narrative time in relation to reader response. Part II shifts perspective to look at writing, exploring ethnography through the concept of fissures in order to suggest methods and uses for reflectively reflexive writing in diverse fields. The critical reading skills surveyed in part I are translated into writing strategies rebalancing the narrative hierarchies of traditional author-informant-reader relations. The final section of the book considers the ethical implications of narrative choices through focus on a single key fissure - narrative resolution - in three similarly situated contemporary fictions. The aim of this last and most tentative section of the book is to provoke thought and invite discussion of the important and under-theorized ethical aspects of narrative. In its structure of progressively tentative consideration of reading, writing, and ethics, Narrative Fissures is also rhetorically self-reflexive, enacting, together with its reader, applications and implications of contemporary thought on narrative.

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Tracking Thoreau explores the constellation of three central issues in Thoreau's oeuvre: nature, culture, and technology. Here, nature's own technology-above all, it's inherent ability to stray, to wonder, to transcend boundaries, to transform itself-mirrors the subject as it cultivates its "self" through composition, narration, and style. Such expression, like nature itself, involves unriliness, a transformation in the narrative, and in the subject of narrations (its self), that likewise allows it to change, go wild, or even lose its way.

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Contemporary Spanish Poetry: The Word and the World comprises eleven essays that collectively explore the rich topography of contemporary Spanish poetry. The studies are tied together by a common thread: each essay responds to the contradictory yet unifying principle sugested by the subtitle, 'The Word and the World', namely, the poet's impulse to create a self-contained reality, in contrast to her or his competing impulse to remain vitally connected to the world. A tribute to the continuing influence on the field of Hispanic poetry by Andrew P. Debicki, one of that field's most distinguished authorities, the essays in this volume were writen by colleagues and former students (recognized critics in their own right). Debicki's illuminating application of varied critical methodologies and theoretical approaches, in books such as Poetry of Discovery and Spanish Poetry of the Twentieth Century, is reflected in all the essays included in this book. Diverse and eclectic in themes and poetic concerns, the essays are dedicated to the Spanish lyric from the post-Civil War period to the present day: from 'olde'" poets like Vicente Aleixandre ad Gloria Fuertes to more recent voices such as those of Ana Maria Moix and Ana Rossetti; from luminaries like Francisco Brines and Jose Angel Valente to the women poets producing intriguing work but still relatively unrecognized outside of Spain. In keeping with the volume's variety, the eleven authors draw on widely divergent reading strategies; among them, feminism,W. J. T. Mitchell's taxonomic analysis of space in literature, and queer theory. The volume closes with a panoramic view that defines contemporary Spanish poetry's role vis-a-vis a highly diversified audience. All in all, each of these critical pieces, with the author's particular intuitions, methodological preferences, and theoretical framework, is a reminder of the breadth of knowledge Andrew Debicki has brought to the practice of criticism, his joyfully pragmatic approach to the individual p

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This book explores the legal landscape of early modern London, its legal institutions and court cases that influenced the building of the first London theaters and the creation of the early modern drama. Beginning with an overview of the Inns of Court, this work treats the members of the legal fraternity and their relationship to the emerging dramatic industry.

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This book offers an original orientation to how speculative thinking may be profoundly stimulated through intermediating engagements with the work of art. The author illustrates the practical implications of this orientation.

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In Struggle Over the Modern, Dennis Raverty argues that there was not one, but two, competing 'modernisms' vying for dominance of the critical field in American art during the first half of the twentieth century. The most familiar strain of this debate to us today is formalism, which emphasized 'purity' in art and culminated in the writing of the influential late modern critic, Clement Greenberg. The other critical position, he contends, is not as familiar to us today, partly because it was so overshadowed by formalist thought in the postwar period. This position emphasized the importance of 'experience' over formal purity and is evident in the writing of Greenberg's rival, Harold Rosenberg, as well as in a number of American writers and critics from the first half of the century. Struggle Over the Modern reconstitutes this neglected yet important dimension of the avant-garde debate in American art criticism decade by decade. Far more than an obscure aesthetic dispute, this was a battle over the very terms and limits appropriate to art, a competition - stretching all the way back to the turn of the twentieth century - to define art either narrowly as an exclusive self-referential endeavor, or broadly delineating the boundaries between art and experience in a more inclusive manner. Examined historiographically, critical writings can yield important information because, beyond their immediate functions of explanation and evaluation of contemporaneous art, these writings imply an unspoken strategy for capturing and dominating the field of critical discourse, thereby influencing the way people think and talk about art. The history of critical thought in twentieth-century American art is also the history of this struggle for critical dominance, a struggle within the avant-garde, over which ideas would define the era for future generations. In a sense, it was a battle for the very soul of modern art. Dominance of the critical arena was so important during the era of the emergence of modern

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This book is a detailed study of Ezra Pound’s explicit and implicit use of elements of the Neoplatonic tradition in his prose and poetry, and of the way it informed his poetics as well as his political and social-economic views.

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Though the efficacy of literary biography has been widely contested by academic theorists, attention to the lives of authors remains an enduring fact of our literary history. The essays in this collection address the relationships among American literary biography, documentation, and interpretation from a practitionerOs perspective.

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Broken English/Breaking English discusses the work of some prominent contemporary poets writing in English, such as Seamus Heaney, Douglas Dunn, and Robert Crawford. It examines the challenges to a poetic discourse that was claimed in immediately post-Second World War England to be ‘pure’ and ‘English.’

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Dubliners’ Dozen is an exploration of those narrative devices that make James Joyce’s Dubliners a writerly rather than a readerly text. In place of a single comprehensive theory that integrates all of the stories, Dubliners’ Dozen trades entirely in ‘micro-theories’— a term for specific fragments of larger theoretical structures.

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The Extension of Life studies ten American novels from such authors has Capote, Bellow, and Kingsolver, in the light of theories of narration and of the recent debate of the nature of fiction.

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Encompassing discussion of more than two hundred individual poems, this study offers a coherent framework for understanding the body of work created by a major, late twentieth-century poet.

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As its title suggests, The Critical Waltz: Essays on the Work of Dorothy Parker focuses on the writing, rather than the life, of one of the twentieth century's most famous underappreciate authors. Although Parker (1893-1967) is known as the caustic wit of the Jazz Age, her work embodies a range of sensibilities informed by the twin tensions of modernism and feminism. What is the significance of Parker's work? This is the question that The Critical Waltz begins to answer by offering the first collection of criticism about Parker's writing. Five new essays, as well as two student essays, join thirteen essays published in journals and books since 1977. Organized into four parts - Modernist Contexts, Feminist Issues, Classroom Encounters, and Conversations - the arrangement of this volume reflects three broad categories that have emerged int eh critical discussion of Parker's work since the late 1970s, followed by an interview and letters in which Parker speaks for herself. Parker's waltz offers a metaphor for the kind of interpretive work, ongoing since the lat 1970s and offering at times contrasting views, about Parker's writing. This 'new critical' work of another order produces an exchange of ideas that deepens our understanding of Parker's texts and her place in literary history, rather than a premature dismissal based on New Critical standards alone. Scholars, teachers, and general readers alike will benefit from the perspectives offered in The Critical Waltz.

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This collection provides a lucid introduction for those unfamiliar with TagoreOs work, while simultaneously presenting important new scholarship and novel interpretation about the greatest modern writer of India.

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This book explores the creation of imperial identities in Britain and several of its colonies_South Africa, India, Australia, and Wales_and the ways in which the Victorian press around the world shaped and reflected these identities.

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This performance-oriented study proposes the dramatic sub genre `comedies of forgiveness’ to describe four Shakespeare plays that have been traditionally been staged as if they were romantic comedies. The Two Gentlemen of Verona, Much Ado About Nothing, All’s Well that Ends Well, and Measure for Measure all feature young heroes who behave badly, apologize weakly, yet quickly earn the complete forgiveness of their societies. This book suggests feminist stagings of the comedies of forgiveness designed to reveal how society deals with masculine fickleness, suspicion, lust, and sexual irresponsibility by channeling male erotic desire toward courtship, marriage, legitimate procreation, and child rearing.

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The Good Rebel is a philosophical work, the methodology of which is nonetheless literary and historical. The book provides an original but historically informed and socially relevant commentary on modern conceptions of personal autonomy. Communitarian authors provide effective critiques of a liberal preoccupation with individualistic personal autonomy. Groarke does not contest the liberal emphasis on autonomy: instead he contests the way in which contemporary liberals define the concept of autonomy.

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Monteverdi in Venice tells the story of Monteverdi's arrival in Venice and his thirty years of continuous work there as Director of Music at St. Marks. Todays fads and fashions produce odd distortions of Monteverdi's musical habits. His vocal works, meant to be performed one voice to a part, are consistently given by massed choirs. For decades conductors and their audiences have swallowed the false theory that his music should be transposed, although there is no need to do so. This book describes and solves these problems, allowing the composer to shine through layers of pseudo-musicological varnish that has obscured a large part of his message.

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This anthology contains 155 poems by forty-nine poets, all of whom have connections with Cambridge University. The poems have been selected to represent a comprehensive range of responses: patriotic, protest, satirical, realistic, elegiac, pastoral, and homoerotic. The introduction provides analytical notes on all the poems. Three appendixes discuss Charles Sorley’s comments on Rupert Brooke, Siegfried Sassoon’s statement of protest, and A. E. Tomlinson’s scathing attack on Brooke. Biographical information on the poets is also included.

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East Anglian dramatic manuscripts record a vigorous, long lived, and spectacular theater that flourished in the late Middle Ages. Staging Faith explores the relationship between production methods, dramatic structure, iconography, and the medieval reception of these plays. It explores how different modes of production resulted in types of dramatic organization and how varied playwrights exploited the symbolic potential of various settings, props and dramatic actions.

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The Microcosm is divided into four small treatises: In treatise I, the author enumerates the four sources of knowledge. In treatise II, the author discusses psychological and physiological matters. The last two treatises of The Microcosm are devoted to theological questions. In addition, The Microcosm,I> includes an informative introduction by the editor as well as an appendix of Saddiq’s original Hebrew text.

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These annotated letters present the first personal glimpse of this Scottish playwright as she wrote and lived. It documents her problems with publishers, describes her encounters with Wordsworth, Byron, Southey, Berry and other literary figures, outlines a long relationship with Scott and places an active literary woman in the historical and social setting of early to mid-nineteenth century Britain.

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This first full-length study of William Bronk, one of our most important contemporary poets and essayists, locates his work in relation to the eighteenth- and nineteenth-century New England literary tradition, to later twentieth-century modernism, and to the subsequent Objectivist and Black Mountain schools of poetry. Through special attention to his uniquely elegant style, this study demonstrates how Bronk has brought together earlier American poetics and philosophy with modern and postmodern notions of being, emptiness, and nothingness. This book features extensive discussions of Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Ralph Waldo Emerson, Robert Frost, and Wallace Stevens, as well as of Charles Olson, Robert Creeley, Cid Corman, and George Oppen. As particularly concerns these twentieth-century figures, Burt Kimmelman also sheds light on the role in their thinking and poetics played by post-positivist science especially its theories of relativity and uncertainty. Analyses of exchanges of letters, most critically between Oppen and Bronk, disclose the great influence of their writing of contemporary intellectual currents aside from poetry itself. Kimmelmans discussion of epistemology is central to understanding this subtle and at times complex poet. The book explains ultimately how, as Michael Heller observes, 'Bronk is, in some sense, a reshaper of an American transcendental tradition, a strong poet of paradoxicality and worldlessness.' Discussions of solitude and abnegation, two key ideas Bronk derives from Thoreau and Melville, reveal not only the roots of Bronks concepts of being, emptiness, and nothingness, but also essential aspects of late-twentieth-century philosophy, psychology, and aesthetics anticipated by Bronk, Borman, Creeley, Olson, Oppen, and others over half a century ago.

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The 101 letters and five diaries of John F. L. Hartwell cover the period of 23 August 1862 to 15 June 1865. They are a detailed view of the War between the States from the viewpoint of a private soldier in the Army of the Potomac.

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Edmund Gurney (1847–88), Fellow of Trinity College, Cambridge, exerted a strong influence in the intellectual and artistic life of Victorian London. An exploration of Gurney’s life, published work, and correspondence, this book reveals the intellectual scope and penetration, the profound humanitarian concerns, and the steadfast integrity of the compassionate and charismatic man.

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This book is the first comprehensive examination of the remarkable singing groupsmale and femaleknown as barbershoppers. In a capella quartets and choruses, barbershoppers concentrate on a song literature that was popular in the period 1860 - 1930. Illustrated.

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Lucien A. Voorhees and William Mackenzie Thompson left Flemington, New Jersey, in high spirits in September 1862 as enlisted men in the 15th New Jersey Regiment to join the fight for the Union. They expected to do their duty and return home victorious in short order. On the march South Voorhees and Thompson each began a correspondence with the local newspapers back home to describe their activities as soldiers in the Army of the Potomac. Within just weeks of their departure from home they came face to face with the realities of war at the Battle of Fredericksburg. These young men proved to be great writers as well as patriots. Their letters, short or long, convey their feelings and the events they witnessed in vivid and colorful language. They soon discovered that their service would demand great sacrifice. 'True Jersey Blues' presents Voorhees' and Thompson's vivid accounts of life on the march, fierce firefights, and everyday occupations convey a true sense of the Civil War as experienced by the men enlisted to fight. The letters from Voorhees and Thompson cover the period from the muster of the 15th Regiment at Flemington (August 1862) through the combat deaths of both writers at Spotsylvania (May 1864). The soldiers tell the story of two failed Federal assaults on Fredericksburg, a race to Gettysburg, the subsequent chase after the Army of Northern Virginia, court-martials, executions, a dress parade for President Lincoln, picket duty, "contrabands" (escaped slaves) coming into the Union lines, and the activities contrived to keep themselves busy in winter camp. These men never lost their faith in the cause they were fighting for or their love of home. Their pens went silent at Spotsylvania in the spring of 1864 where they sacrificed their lives for the cause they believed in. Here, Voorhees and Thompson tell their story of the Civil War and their fight for victory.

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

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

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

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

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

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

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