Search results for ""Associated""

This groundbreaking study demonstrates the profound influence of Ramon Lull (c. 1232-1316?) upon Donne. Albrecht traces Donne's ecumenical vision back to Lull, back to Pico della Mirandola, Lull's disciple, and back to the Jewish cabala, sources for both. She shows how Donne refashioned Lull's abstract version of Mary and, like Lull, used this "Mary" to include Muslims and Jews in the church universal. She shows how pseudo-Lullian alchemical theories allowed him to describe, with impunity, Mary's function in "theologial alchemy," a works-oriented theology that included the female principle in the Tetragrammaton - that name that cannot be spoken. Finally, she shows how Donne incorporated the corporeal images of medieval iconography into Lull's mnemotechnics in order to construct texts whereby God's attributes, perceived as a series of ever-changing combinations, reveal an ecumenical frame of mind far more advanced than hitherto supposed. This study will appeal to new historicists and those interested in alchemy, emblems, or theology. Roberta J. Albrecht is an independent scholar.

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The essays in this volume represent multiple perspectives on Lawrence Durrell's sojourn in the Hellenic diaspora and his art's connection to the Greek world. Essays include reminiscences by Durrell's only living child, Penelope Durrell-Hope, and friends, such as Greek poet Nanos Valaoritis, H. R. Stoneback, Penelope Tremayne, and John Letham. Another group of critical essays examine Durrell's imaginative evocation of the "spirit of place," specifically his depiction of Corfu, Rhodes, Cyprus, and Alexandria, Egypt, which are locales that have provided settings for his travel books, poetry, and cycle of novels, The Alexandria Quartet. Other critical essays discuss more literary themes in Durrell's work, including his use of myth and his parallels with other artists and thinkers, such as John Fowles, Constantine Cavafy, Gostan Zarian, George Seferis, Edward Lear, and Friedrich Nietzsche. The volume concludes with David Radavich's poems that were inspired by Durrell's Corfu. Anna Lillios is an Associate Professor of English at the University of Central Florida.

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To praise Jane Austen's novels only as stylistic masterpieces is to strip them of the historical, cultural, and literary contexts that might otherwise illuminate them. By focusing primarily on the political, historical, satiric, actively intertextual, and deeply sexualized text of Persuasion, Jocelyn Harris seeks to reconcile the so-called insignificance of her content with her high canonical status, for Austen’s interactions with real and imagined worlds prove her to be innovative, even revolutionary. This book answers common assertions that Austen’s content is restricted; that being uneducated and a woman, she could only write unconsciously, realistically, and autobiographically of what she knew; that her national and sexual politics were reactionary; and that her novels serve mainly as havens from reality. Such ideas arose from literal readings of Austen’s letters, the family’s representation of her as a gentle, unlearned genius, and the assumption that she could not write about the Napoleonic Wars. Persuasion is, though, permeated with references to war as well as peace. Harris suggests that Persuasion may respond to Walter Scott’s review of Emma, Austen’s correspondence with Fanny Knight, hostile reviews of Frances Burney’s The Wanderer, contemporary attacks on the novel, and her own defense of fiction in Northanger Abbey. Self-critical in revision, Austen calls on Byron, Shakespeare, Napoleon, and Cook to modify wartime constructions of English masculinity such as Southey’s Nelson. Similarly, her critique of Scott’s first three novels confirms that her attitude toward class and gender is far from reactionary. Persuasion reveals Austen’s patriotism, her pioneering lyricism, and her hopes for sexual equality. Although like Turner she portrays Lyme as sublime and liminally open to change, she attacks Bath, a city shadowed by mortality and corruption, with a savage indignation characteristic of contemporary satire. Persuasion sketches a society founded on merit and distributive justice, its turn from woe to joy derived not so much from her own life as from the seasonal resurrections of Shakespeare’s late tragicomedies, her religious beliefs, and the nation’s mixed grief and jubilee after Waterloo. Harris draws on new information to argue that Austen is an outward looking, intertextually aware, and remarkably self-conscious author.

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In 1932, Benno Weiser Varon was a student of medicine in Vienna. During a brawl at the Anatomic Institute he rescues a Jewish fellow student, when he cracked the skull of a huge Nazi with two outsized metal keys, while some thirty Nazis watched from an upper floor. He considered this event his rite of passage, in which he proved to himself that “Jews are no cowards.” Life would give him many an opportunity to prove it again. A Jewish Rambo? Not at all. Fellow Viennese remember him for making them laugh. He wrote, directed, and performed in literary cabarets. Gerhard Bronner, Vienna’s foremost entertainer, claims that watching Weiser perform inspired his choice of career. “All I could take along from Nazi Vienna,” says Weiser Varon, “was my accent.” But he also exported his fighting spirit. As Ecuador’s first syndicated columnist, blending drama with satire, he dispensed faith to those who rooted for the Allies and heartburn to the powerful Nazi colony. The Axis powers sponsored seven weeklies to counteract his influence, there was an interpellation in parliament, a “promise” by the minister of the interior to silence him, an op-ed dual with a Vichy diplomat. The New York Times, reporting on his struggle, called him one of Latin America’s best known columnists. In 1946 the World Zionist Organization drafted him into its campaign to convince the nations of Latin America of the justice of the Jewish fight for statehood. Varon’s niche in history is the U.N. Palestine Partition Resolution of 1947. The Encyclopedia Judaica credits him and a colleague with the decisive Latin American votes. In 1964 Golda Meir appointed him ambassador to a succession of Latin American countries. In 1970 Baron survived an assassination attempt by Palestinian terrorists. In 1972 he retired from diplomacy and returned to journalism. Varon met Albert Einstein and Aleksandr Kerensky as well as the Who’s Who of Latin-American writers, painters, intellectuals, and statesmen, such as Perón, Castro, the Somozas, Stroessner. He also placed second-best in a joke contest with Bob Hope and, together with his actress-wife, wrote a play, “A Letter to the Times,” which was produced in both English and Spanish.

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This book examines the treatment of literary influence in the first six books of poetry from Mexico's Jose Emilo Pacheco.

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This book identifies and describes modernist 'choran community' as a previously understudied key counternarrative to Modernism's engagement with early twentieth-century master narratives. The author uses the term choran community to emphasize the almost sacred nature of the experience represented in common by select modernist texts, photographs, and phototexts produced in the interwar period. Choran community comes about as a result of the 'choran moment', or, textual instant when characters and/or readers (re)cognize their connection with a larger, inherently unified whole. Whether in a visual, verbal, or hybrid text, the stasis of the choran moment contains the potent possibility of communal awareness, or choran community, in the future as well as the present. The textual choran communities presented here consequently offset the sexist, racist, and classist solipsism of imperialist or fascist master narrative.

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What happens when scholarship on the early modern stage is presented on a recreation of an early modern stage? This question, which at its heart is the question of the relationship between scholarship and performance, animates Thunder at a Playhouse: Essaying Shakespeare and the Early Modern Stage. The essays in this collection all began as papers given at the Blackfriars Conference, a biennial gathering that "stages" scholarship by asking presenters to use the space of the stage, the playhouse, the audience, and even actors to test out suppositions and hypotheses about early English theater. Recognizing the slipperiness of putting theory into practice and of having practice inform theory, the editors, Peter Kanelos and Matt Kozusko, committed to the root concept of the essay as "attempt," asked the volume's contributors to develop their positions as fully and as presently possible. The result is a collection of work by both distinguished and emerging scholars that engages critical issues of early modern performance in fresh and vital ways. The construction of "early modern" playhouses, such as the Blackfriars in Virginia and Shakespeare's Globe in London, and the increasing interest in exploring "original practices" on the early modern stage, have provoked reflection, deliberation, and debate. What might we understand empirically about early modern theater, and what is the value of speculative reconstruction/speculation? How might this sort of knowledge be employed on the modern stage? And, critically, what are the purposes of such pursuits for scholars and theater practitioners? Intending to acknowledge the array of lively approaches to early modern theater and to encourage conversation and collaboration between scholars, the editors have compiled a wide-ranging selection of essays. Featuring new work by David Bevington, Roslyn Knutson, Lars Engle, Peter Hyland, Lois Potter and others, Thunder at a Playhouse offers insight into such varied topics as Hamlet's highbrow conception of drama, the portrayal of barbers, babies, and angels on the early modern stage, the timing of quick changes in Jonson's The Alchemist, Shakespeare's reading of Marlowe, and James Burbage's intentions in purchasing the Blackfriars. Thunder at a Playhouse will be of interest to anyone concerned with theatrical performance, the history of the stage, or early modern literary culture. This collection is particularly timely, speaking to an directly addressing the convergence of theory and practice in the study of early modern drama

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During the decade or so surrounding 1540, there is a change in French thinkers' assumptions about themselves, their country, and their place in the world. This evolutionary change is examined from multidisciplinary points of view, providing readers with tools for interpreting, defining, and understanding it in a broader sense. The character of the change being explored here is neither rupture nor revolution. It is a displacement of center that contributes to, or in some cases actually creates, a changed relation between past and mid-sixteenth-century present as well as between that present and attitudes toward the future. During the period around 1540, French thinkers and French perceptions opened to the notion that what-had-never-been now could be, what for lack of a better term, called the new, often accompanied by a nationalism proclaiming it for France. This brings a fresh understanding of what it means to be French - in language, in music, even in food. It brings an expansion of categories to be treated as part of the French economy, like Canadian fish, or more surprisingly, leisure, or music. Marian Rothstein is Professor of French at Carthage College.

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Understanding why culture becomes an integral part of economic and political activities remains a central puzzle in social sciences. This study analyzes different patterns of community organization, develops a theoretical explanation for the contrasting patterns and empirically addresses when and how social bonds are a source of economic success and political integration. The substantive focus of this book is immigrant communities and how they organize politically and economically. Through interviews, survey data, and observation, it is an empirical study of two Indian communities in three countries - India, Britain, and the U.S. Beyond analyzing the variation across immigrant groups, the author explains why these different patterns of organization emerge by tracing the communities from point of origin in the home country, to the place of settlement in the host countries. Lauretta Conklin Frederking is Assistant Professor at the University of Portland.

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This volume seeks to address the conundrum of reading African American poets as racial spokespeople, and to model alternative ways of addressing their work. It examines Yusef Komunyakaa's literary career and his four most recent volumes of poetry. By addressing Talking Dirty to the Gods, it examines the cues Komunyakaa left for readers through its organization and themes. Other chapters discuss the civil rights movement, the Klan's presence in the Louisiana of Komunyakaa's youth, and the war in Vietnam as they appear in Komunyakaa's work. Angela M. Salas is an Adjunct Research Associate at Southeast Missouri State University.

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Studies the role of mourning in Fitzgerald's work

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The volume gives an excellent overall view of Rodoreda's poetry in the original and in translation, her short stories and novels. A completely annotated, cross-indexed bibliography of the critical work on Rodoreda, accompanied by an analysis of the current state of criticism on her work is included.

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Dominic Baker-Smith has been a leading international authority on humanism for more than four decades, specializing in the works of Erasmus and Thomas More. The present collection of essays by colleagues throughout Europe, Canada, and the United States examines humanism in both its historic sixteenth-century meanings and applications and the humanist tradition in our own time, drawing on his work and that of scholars who have followed him. Contributors include Andrew Weiner, Elizabeth McCutcheon, and Germaine Warkentin. Arthur F. Kinney is Thomas W. Copeland Professor of Literary History at the University of Massachusetts, Amherst. Ton Hoenselaars is Associate Professor of English at the University of Utrecht.

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This collection of essays, including contributions by Paula Backscheider, Martin C. Battestin, and Patricia Meyer Spacks- examines the relationship between history, literary forms, and the cultural contexts of British literature from the late seventeenth to the late eighteenth century. Topics include print culture and the works of Mary, Lady Chudleigh; the politics of early amatory fiction; Susanna Centlivre's use of plot; novels by women between 1760 and 1788; and the connection between gender and narrative form in the criminal biographies of the 1770s.

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This study deals wih the approriation of Shakespeare for the needs of communist ideology. While primarily concentrating on the uses of his dramatic work in Bulgaria, it places his experience in the East-European context. The bulk of the book is devoted to an analysis of the complex interplay betweeen oppressive ideological criticism and theater practice. It shows how Shakespeare in the theater gradually managed to escape the constraints of ideology and became a strong oppositional voice.

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This study examines authorial consciousness in the fifteen-year correspondence between Jean-Jacques Rousseau and his most devoted fan, Marie-Anne de La Tour, who claimed to incarnate his heroine Julie of ""La Nouvelle Heloise"". Far from the starry-eyed obsessive she is now assumed to have been, de La Tour was a woman writer eager for fame who pursued her goal of becoming an ""author"" through the vehicle of a private correspondence with a celebrity. In the eighteenth century, with the vogue for publishing the private in full force, missive letters were accorded great esthetic and publication value. Suspicion of intent to publish by writers of private letters was common, but this awareness has now been lost as the letter form has lost its publication potential. De La Tour's project of creating a publishable ""private"" correspondence with a famous author raises theoretical issues relevant not only to eighteenth-century studies but also to epistolary studies, reader-response theory, and gender theory. Mary McAlpin is Associate Professor of French and Chair of the French program at the University of Tennessee.

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Originally published in 1991 and reprinted in 2000, this is the first translation into English of the El fin del mundo como obra de arte: un relato occidental by the popular Spanish writer and philosopher Rafael Argullol. A collection of poignant, brief chapters that can be read independently, the book presents a history of the Western world by means of its artistic, literary, and political figures and the different attempts at creating a view of the end of the world as a "work of art." Interdisciplinary in nature, it crosses thematic as well as genre boundaries in a style regarded as "transversal". In an effort to redress the absence of Spanish essayists in the English market, the translator includes an introduction to the Spanish essay, a contextualization of the author and his literary production, as well as an "Afterword," where she places this work along the lines of postmodern theorizing yet written for a non-academic public. Yolanda Gamboa is Assistant Professor of Spanish literature at Florida Atlantic University.

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Technology continues to transform the world with a process that seems to be constantly accelerating. The struggle to understand the way the "new" computer and communications technologies are transforming the world is many-sided. What the essays collected in this issue of the 'Bucknell Review' attempt is a general cultural approach to the notion of ther being a technological "matrix" in which we all now find ourselves "adrift" and of which our experience is often "dread." "Adrift" and "dread" are not single metaphors in the collection. In order to attempt this interrogation of the technological matrix, the essayists have drawn from a variety of disciplines- literature, philosophy, religion, art, media studies- while retaining the substantial contibutions of previous theorists of technology. The main thrust of this collection is to underscore the vast enrichment given to a study of the "new" technologies when approached from a broad cultural standpoint.

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An introduction to the poetry of Jorge Teillier (Chile, 1935-1986). Commonly referred to as ?poesie larica? (poetry of the lar or hearth), Tellier's poetry looks to the countryside, to familiar domestic objects in the provincial home, and to the folklore of an illusive past as a way of restoring meaning to individual existence.

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Essays examine the construction of cultural identities in the English-speaking Caribbean

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Connects the woman healer and the go between in early Iberian literature to the concurrent professionalisation of medicine

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