Search results for ""Fairleigh Dickinson University Press""

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The revisions of the French Revolution by three prominent eighteenth- century writers are focused on in this book. The implication in the OtraditionO these writers rebelled against raises fundamental questions about the representations of rebels and Romantics as well as our canonical readings of eighteenth- and nineteenth-century texts.

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This work rescues from undeserved neglect the American-born English author Pearl Craigie, who published as John Oliver Hobbes. It traces Craigies crowded external and inner lives and her connections with many well-known people.

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This book is a comparative approach that treats the formidable psychosexual and gothic content, as phrased through a rhetoric of rebellion, death, and illness, in the works of Ugo Tarchetti and others. Del PrincipeOs psychoanalytic-feminist reinterpretation illuminates the scapigliati as precursors to modernism and the avant-garde.

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The focus of this work is Manual Azaña, the Second Republic's preeminent statesman, and it clarifies Spain's complex politics in the 1920s and 1930s.

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This volume provides the first new edition of Cibber’s plays since 1777, and the first edition ever published that includes all of his known plays and that incorporates his extensive and often complex revisions. This modern-spelling edition features a comprehensive general introduction to Cibber’s career, and separate introductions for each play, detailing sources, performance data, and publication history. Annotations and textual notes are included to allow for additional study. Included in this volume are Love’s Last Shift, Love Makes a Man, Richard III, The Rival Queans, Woman’s Wit, and Xerxes.

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Sir TennielOs career was a struggle between his responsiveness to popular taste and his sympathy with views of art that condemned that taste. In his satires of the medieval revival from the 1850s, Tenniel developed a purely visual historicist burlesque that parodied the revival but was also a genuine adaptation of historical forms to a contemporary context.

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This collection, which brings together a substantial body of East European poetry published in the 1980s, emphasizes the work of a decade that led to one of the most significant turning points in the history of that region, if not the modern world.

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