Search results for ""Fairleigh Dickinson University Press""

This book examines how the hierarchical structures of taste implied by the term middlebrow were negotiated by the best-selling novelist, Warwick Deeping (1877 - 1950). Deeping is the focus for three reasons: he was immensely popular, prolific, and his popularity was perceived by such critics as Q. D. Leavis as a threat to the "sensitive minority". His sixty-eight novels from 1903 to 1950 give the cultural historian the unusual opportunity of tracing the develpment of an author's attempts to protect both himself and his readers from a process of cultural devaluation. After 1925, the best-selling Sorrell and Son and its successors established "a" Deeping as a product about which both admirers and detractors had certain expectations. His response to these provides an exemplary site within which to examine how cultural distinctions were being negotiated and contested in Britain between the two World Wars. The introduction traces the genealogy of Dr. Grover's theoretical approach. The theories of the Frankfurt school and of Pierre Bourdieu do not account adequately for the generation of texts in response to perceived cultural hierarchies. Deeping's texts are increasingly explicit in the ways they dramatize and address their own questionable cultural status. Grover uses this self-consciousness to test the limits of the usefulness of available theories of cultural production. Chapter 1 historicizes the emergenceof the term middlebrow, contrasting its use on either side of the Atlantic to demonstrate class and cultural context. Chapter 2 shows how Deeping represented his own class positioning as bestselling author. Chapter 3 examines a group of novels, preceding Sorrell and Son and before the term middlebrow had currency, in which the writer is depicted as feminized and declassified. Chapter 4 concerns the reception of Sorrell and Son and Deeping's fictionalization of its reception. The final chapter deals with the animosity to which Sorrell's success exposed the culturally beleaguered Deeping

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Despite critical interest in the role of women in the French Revolution, there is no single, comprehensive study of the works of the two most prolific women writers of the period—Olympe de Gouges and Manon Roland. At a time when politicians were molding public policy concerning life, liberty, the pursuit of happiness, and constituting criteria for citizenship, increasing numbers of women in Paris were clamoring for rights. New medical and philosophical theories redefining female nature were trotted out to justify women's continued exclusion from full political participation. Such theories focused on the female body as the locus of women's intellectual inadequacies and promulgated the idea that women who acted outside of the confines of their physiological nature were considered desensitized and unfeminine. Deviant Women of the French Revolution and the Rise of Feminism aims to uncover the work of those women who challenged prevailing views of female nature, sought social reforms, and were deemed "deviant" for their writing and/or activism during the French Revolution.

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This book addresses the question of the legacies of Nietzsche's theories of tragedy as literary genre and of the tragic as ontological concept. Although The Birth of Tragedy was the most seminal in this sense, Nietzsche's followers also read, misread, and appropriated ideas on the tragic in his later works. Taking seriously the call for the rebirth of the tragic spirit in culture generally, dramatists, poets, novelists, philosophers, film makers, and theorists not always acknowledging a debt to Nietzsche incorporated the Dionysian and the Apollinian, as well as other aspects of Nietzsche's thinking on tragedy, into their own works. This volume gives a sampling of the multifaceted and widespread impact of this aspect of Nietzsche's thought in Eastern as well as in Western Europe and in the United States.

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This study demonstrates that jazz as it appeared in narrative fiction was often used as a forum to address the nation's anxieties in the turbulent years during which the United States gradually changed from a nation dedicated to an isolationist policy to a superpower likely to intervene in foreign conflicts. The jazz narrative became one of the means through which this paradigm shift was justified to an American audience. Jazz might strike many readers as a subject only for aficionados, but this book is accessible to a broad audience. It is aimed at casual fans of jazz music curious about the music's broader role in the cultural development of the United States and the interplay between jazz and American fiction.

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This book is about Theodore Roosevelt as a politician not as a statesman/politician, just a politician. The parties, persons, decisions, and mistakes that made up Roosevelts political experience are discussed, and the book seeks to isolate Roosevelt's political motivation and his moves to enhance an appreciation of his political savvy.

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LennoxOs novel, published in 1750, is the first novel of a well-respected author whose work demands significant critical attention. This volume reprints the first edition of the novel, along with an introduction and notes.

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This volume is a review of both ideas and practice concerning federalism in Britain and Ireland, the Empire, and Europe, furnishing an unusual perspective on BritainOs changing political and constitutional relations from 1870 to the present day.

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A Handful of Mischief: New Essays on Evelyn Waugh is a collection of essays based on presentations at the Evelyn Waugh Centenary Conference at Hertford College, Oxford, in 2003. There are twelve different essays by authors from various countries, including Australia, Canada, Russia, the United Kingdom, and the United States. The essays cover a wide range of material, from Waugh's early novel Black Mischief (1932) to his last travel book, A Tourist in Africa (1960). In addition to essays on well-known novels such as Scoop (1938), Brideshead Revisited (1945), and Helena (1950), the collection includes papers on Waugh's library, his changing conception of Oxford, his writing about religious conversion, and his role in the British evacuation of Crete in 1941. The authors approach Waugh and his work in various ways, and innovative essays explore sovereignty, post-colonialism, and adaptation for radio. Contributors: Baron Alder, Peter G. Christensen, Robert Murray Davis, Marcel DeCoste, Patrick Denman Flanery, Donat Gallagher, Irina Kabanova, Dan S. Kostopulos, Lewis MacLeod, John W. Mahon, Richard W. Oram, Ann Pasternak Slater, John Howard Wilson.

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The Cultures of Italian Migration allows the adjective "Italian" to qualify people's movements along diverse trajectories and temporal dimensions. Discussions on migrations to and from Italy meet in that discursive space where critical concepts like "home," "identity," "subjectivity," and "otherness" eschew stereotyping. This volume demonstrates that interpretations of old migrations are necessary in order to talk about contemporary Italy. New migrations trace new non linear paths in the definition of a multicultural Italy whose roots are unmistakably present throughout the centuries. Some of these essays concentrate on topics that are historically long-term, such as emigration from Italy to the Americas and southern Pacific Ocean. Others focus on the more contemporary phenomena of immigration to Italy from other parts of the world, including Africa. This collection ultimately offers an invitation to seek out new and different modes of analyzing the migratory act.

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This book follows the careers of three major poets of the European and North American periphery as they engage one of the master tropes of Western civilization. As colonial subjects, they inherited an Anglicized version of Hellenism whose borders might easily have excluded them as civilizational 'others.' The book describes the diverse strategies they used — from Bloomian kenosis to Afro-Caribbean 'signifyin(g)' — to make Hellenism their own.

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"Terra Incognita": D. H. Lawrence at the Frontiers consists of nine essays by scholars from five countries. They show how Lawrence explored the "terra incognita" not only of geography but also of consciousness and human relations. The 1920s emerge as a watershed in his work. These essays present the first criticism to utilize new texts and research in the final prose volumes of the Cambridge Lawrence Edition. This includes all the essays Lawrence wrote in America about Southwestern and Mexican Indians (Mornings in Mexico and Other Essays, 2009). Authors are Michael Hollington, Paul Poplawski, Judith Ruderman, Edina Pereira Crunfli, Jack Stewart, Keith Cushman, Tina Ferris, Julianne Newmark, and Hyde. Color illustrations are by Lawrence, Georgia O'Keeffe, and Dorothy Brett. The book will interest both general readers and scholars of Lawrence and twentieth-century literature.

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Shakespeare Adaptations from the Early Eighteenth Century provides an accessible, informative, and scholarly edition of five stage versions of Shakespearean plays of the early Eighteenth Century.

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The Next Thing: Art in the Twenty-first Century is a highly visual collection of essays about the future of art and the art of the future. This anthology brings together writings by world-renown theorists, artists, critics, novelists and philosophers, all of them engaged in current discussions about new and emerging artistic trends and sensibilities. From “post-human” installations, to transgenic experimentations, from tele-presence performance, to nano design, digital-fiction, virtual urbanism or “guerilla art”, new tendencies, are redefining both the boundaries of Meaning and what it means to be Human. The essays comprising The Next Thing identify the impact of these new trends and anticipate possible zeitgeists that will define our century. This anthology counts with contributions by Stelarc, Liliana Porter, Ana Tiscornia, Mieke Bal, Polona Tratnik, Hagi Kenaan, Sue “Johnny” Golding, Pablo Baler, Mark Axelrod, Glenn Harper, Jan Garden Castro, Salima Hashmi, Rashid Rana, Huma Mulji, Ajesha Jatoi, Quddus Mirza, and Naazish Ata-Ullah. Like the artworks here discussed, the book itself is endowed with a transformative power and a subversive understanding of the limits of human identity. The Next Thing challenges perception, defies our imagination and pushes the boundaries of both ethics and aesthetics. For more information on The Next Thing and Pablo Baler, please visit: http://www.pablobaler.com/.

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n The Fortress of American Solitude: Robinson Crusoe and Antebellum Culture, Shawn Thomson analyzes a wide range of antebellum literature offering critiques of the Robinson Crusoe story and its attendant myths. Through the lens of the Crusoe typos, Thomson explores the underlying tensions within bourgeois culture between the restraints of the home and freedoms of the open world. Thomson argues that Robinson Crusoe functioned to normalize the maturation process for boys as they directed their adolescence toward greater expressions of autonomy and self-reliance and allowed women to enter into this masculine territory and understand the landmarks of mens lives. In examining a wide range of major authors, including Herman Melville, Frederick Douglass, James Fenimore Cooper, Elizabeth Stoddard,and Emily Dickinson as well as non-canonical authors and newspaper accounts of the period, Thomson demonstrates the power of the Crusoe topos as an animating construct of nineteenth-century United States culture.

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A Companion to Thomas More brings together many of the world's leading More scholars in order to offer the first comprehensive reassessment of the man and his works for a quarter of a century. The volume freshly examines the competing versions of More the man and presents a new overview of nearly every aspect of his canon.

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This book documents the life and career of Marie Prescott (1850–93), an actress of great beauty and wit, who directed and starred in Oscar Wilde's first play, Vera, or the Nihilists. Like Wilde, Prescott struggled to reconcile her artistic aspirations with her financial goals and to assert her independence from the social restraints of her day; she also had a complicated love life. Her compelling story is marked by the sensational elements of opening nights, vengeful critics, bitter feuds, insanity, missing persons, lawsuits, divorces, and sexual obsession. In all of this, Marie Prescott remained a figure of impressive intellect and will. Her lively correspondence with Wilde, her erudite lectures, and the dramatic transcripts of a libel trial in which she was involved recorded her singular voice and forceful intelligence. Her story is tied not only to Wilde, but also to many of the major New York theatrical figures of her time, as well as to the social, journalistic, and political worlds of New York and Kentucky. Her ancestors were influential in the organization of the American Constitution and the founding of the state of Texas. Text is illustrated

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Hybrid Nations examines the critical role that gender plays in the formation of national identities in Latin America that are negotiated and challenged within extreme gendered struggles for power. In the years following independence, many writers utilized oppositional concepts of gender in order to contest hegemonic governments and introduced in their works national male subjects that would replace the more caudillistatype rulers. During the nineteenth century and throughout the nation-building era in Latin America, conceptualizations of gender fluctuated in large part due to the scientific and philosophical trends that circulated in Europe, as well as the tumultuous atmosphere provided by independence. Due to the criss-crossing of gender codes that were manipulated in order to realize the status of power, traditional perceptions based on the binary status of gender are simultaneously displaced or deconstructed, resulting in the formation of ambiguous or even androgynous male national subjects.

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St. Pierre examines strategies of representing British music hall performance and the performance of the body in British cinema in the silent era and the sound era. The focus is on films of Fred and Joe Evans, Frank Randle, Will Hay, George Formby,Arthur Lucan and Kitty McShane, Cicely Courtneidge, Jessie Matthews, Norman Evans, Max Miller, Stanley Holloway, Jack Warner, Gracie Fields, and Charles Chaplin. Consideration is given to themes such as war propaganda and gender impersonation.

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This study integrates Renaissance texts of classical and early modern geography, cartography, and travel writing with postmodern theory to challenge the long-standing tradition of Eastern European space as a distant land of elsewhere and to demonstrate how contemporary modes of geographic thinking influenced aspects of English dramatic form. By examining the ways in which habits of thought derived from these texts informed Renaissance ideas about Eastern European space, this book shows how the threshold dividing the symbolic and the real is traversed and imagined as traversable. The study gives useful background on how Eastern European locations would have signified as marginal to early modern English audiences. Re-reading early modern texts ranging from geographic and travel accounts to the early modern drama of Shakespeare and his contemporaries, this study argues for a questioning and perspectival dimension of early modern subjectivity as fashioned by these texts, which emerges as enabling and compelling.

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This is the first time that a substantial and representative selection of Flint's poetry has been collected. The Introduction supplies important biographical information, and traces how Flint became involved, along with Ezra Pound, Richard Aldington, and H.D., in the Imagist project. There are sixty-three poems drawn from Flint's three published collections of poetry In the Net of the Stars (1909), Cadences (1915), and Otherworld (1920), and a further twenty-two uncollected or previously unpublished poems, making eighty-five poems in all. The Introduction also offers a sustained and illuminating discussion of the evolution of Flint's art through three volumes. In addition, there are five appendices, among them Flint's important essays, 'Imagisme' and 'The History of Imagism.' The book seeks to establish Flint as a significant contributor to early Modernist poetry, i.e., Imagism, and to reassess the qualities and achievement of an undeservedly overlooked poet.

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This study of color, space, and creativity focuses on texts by Virginia Woolf, D. H. Lawrence, Joyce Cary, Lawrence Durrell, and A. S. Byatt. The author examines Woolf's structural use of color in To the Lighthouse and Lawrence's colorful visualizing of place in Sea and Sardinia and the Letters. Lawrence interprets the creative process in Apocalypse, tracing spiral rhythms that culminate in vision, while Cary, in The Horse's Mouth, dramatizes an artist's vision of 'the world of colour'. Durrell expands the power of color through metaphor in his island scapes and in The Alexandria Quartet distills the city's ethos in a 'cyclorama' that fuses sensations and memories. The final four chapters focus on Byatt's novels, starting with the creative-critical dialectic of The Shadows of the Sun and hyper-intense perception in The Virgin in the Garden. Painting comes to full bloom in Still Life, where Van Gogh's study of a breakfast table inspires a surrogate writer to compare words and paint. In The Matisse Stories Byatt improvises on the artist's color combinations and compositional philosophy. Highlighting interactions of color, space, and creativity that take on ontological dimensions, Stewart's study will lead to ongoing reflections on the roles of color and space in modernist texts.

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Inspired by the Madres de la Plaza de Mayo's work for memory and justice, Cry for Me, Argentina is an interdisciplinary study that draws on Latin American literary, trauma, performance, and cultural studies to analyze the narrative of three Argentine women writers/activists - Aida Bortnik, Griselda Gambaro, and Tununa Mercado - whose work reveals the traumatic repercussions of the Dirty War (1976-83) and cultivates a narrative space for working through traumatic impact of the era: the grave losses of human life (30,000 disappeared individuals), the breakdown of civil liberties, and the ongoing struggles these problems have perpetuated. Dr. Levine argues that the work of all three authors emphasizes the imperative to restore the dialogical principal obliterated by repressive authoritarian regimes. By doing so within their narrative, they cultivate a performance space in which they incite the reader to participate in the process of mourning, working toward social justice and healing.

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This volume investigates modes of the reception, rewriting, and appropriation of the gothic and the fantastic in Italy in the late nineteenth century and the second half of the twentieth century. It articulates the ways in which Italian writers both undermined the narrative spaces created by realist narration and introduced agnoseological dimension centered on a disempowered and disjointed subjectivity. It argues that both in their breaking of nineteenth- and twentieth-century aesthetic and literary paradigms and in their radical questioning of personal, collective, ideological, and literary identities, the gothic and the fantastic become forces of subversion. The identity resulting from this hermeneutic engagement is defined not by coincidence, but by difference: both collective and subjective identities must activate a process of negotiation that has to assimilate the Other in the spaces between the real and the unreal. Meanwhile, by assimilating the Other into our own modes of representation of reality and imagination, twentieth century female writers of the fantastic show how alternative identities can be shaped and social constituencies can be challenged.

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Forgotten Patriot is the story of one man's dedication to duty, principles, and the British Empire. Revered and reviled, Milner inspired the imperial faithful and believed absolutely that the measures he took to further the imperial cause were justified.

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Do prevailing social discourses hinder human connectedness to the land? And,if so, are there ways in which agriculture can guide us to better ways of thinking and living? This book seeks to answer such questions via a focus on dialogue, specifically on one researchers attempts to develop dialogue as a tool for social and cultural change. Throughout the work, dialogue is intentionally focused by means of a metaphorical and literal engagement with agriculture. The book uses agriculture to question whether conventional progress and development, which claims much material success, may be alienating humans from their own ecology and failing in social, psychological, and spiritual ways. It proposes that researchers use agriculture as a framework for discussion, debate, and dialogue on issues of environmental, economic, and cultural significance. The dialogue on agriculture that the book advances also questions whether current discourses within the 'environmental community' are bound to exclusive ideologies and are thus flawed as means of all-inclusive dialogue. The book is accessible to the general public as well as the academic. It was developed to be of particular interest to both the fields of geography and planning, but is also relevant to cultural studies, environmental studies, and spiritual ecology.

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This book takes its title from the homonymous novel by Nella Larsen who, during the Harlem Renaissance, posed the question of what it means to be black in a racist country. The practice of passing was in fact used by African Americans to escape discrimination during the time of segregation. Nella Larsen condemns this practice, but also shows its potential, defining it as 'not entirely strange perhaps . . . but certainly not entirely friendly.' Starting from this consideration, Camaiti Hostert's book turns the meaning of the social practice of passing upside down and makes it become a universal tool to redefine any social, ethnic, gender, and religious identity. Based on the Foucauldian consideration that total visibility is a 'trap,' the author focuses her attention on the interstices, on the spaces off and on the narratives between the lines. The emphasis is on the transitional moment, in a Gramscian sense: the fluid state flowing between the starting and ending points becomes the place of a counter-hegemony, which helps not only to rewrite history but also to change the political status quo. More interesting than the departure or arrival point is the phase any individual has to go through in order to redefine his/her own self and his/her position in society. It is a deterritorialization of the self and of social practices. It is a way to oppose any form of binary thinking and particularly cultural barriers. Post-colonial literatures, cinema, and new communication technologies that shape the many forms of popular culture are the common ground on which passing relies. From there, from the different conditions of in betweeness, stems the possibility of change.

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The myth of Sisyphus symbolizes the archetypal process of becoming without the consolation of absolute achievement. It is a poignant reflection of idealized aspirations and actual limitations of the human condition. It is also a prominent framing text for the interpretation of classical and patristic literature, medieval allegorical and alchemical interpretations of mythology, and humanist philosophical, educational, and utopian ideologies, and erotic and heroic theories of human perfectibility. Sisyphus defines the modalities of human transcendence in classical and Christian terms; he is the personification of the unrequited lover; and he is the embodiment of the aspirant renaissance hero.

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Eleven essays on Algren’s major work offer a diverse and lively range of theoretical and historical readings— including discussions of Algren’s place in Chicago’s left-wing literary tradition, the aesthetic of American and European naturalism, and his reaction to, and reception in, the Cold War milieu of the 1940s and 1950s. Consideration is also given to the ways in which paperback cover designs shaped the reception of Algren’s novels as pulp fiction.

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This critical volume focuses on the issue of continuity and discontinuity ofthe Christian concept of theosis, or deification, in the intellectual history of ideas. It addresses the origin, development, and function of theosis from its antecedents in ancient Greek philosophy to its nuanced use in contemporary theological thought. Often seen as a heresy in the Protestant West, the revival of interest in deification in both lay and scholastic circles heralds a return to foundational understandings of salvation in the Christian church before the divisions of East and West, Catholic and Protestant. The five sections of this work, written by scholars from the Eastern Orthodox, Roman Catholic, and Protestant traditions, introduce and summarize the nature and function of deification and then lead the reader through four general historical periods of development: Greek and New Testament, Patristic, Medieval and Reformation, and Modern thought. This multi-author work accomplishes what no single author could: it treats the various visions and trajectories of deification that have emerged over the span of a millennium in the various Christian traditions, resulting in a sweeping yet thorough and distinctive contribution to scholarly and informed lay discussion of theosis.

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Loulou is a selection of extracts from the unpublished journals of Lewis Harcourt. Harcourt was the constant companion and confidential secretary of Sir William Harcourt, his father, who was home secretary and chancellor of the exchequer in the last three of Gladstone’s four Liberal governments. This journal extracts, written during the years 1880 to 1895, document the political, social, and personal thoughts of a young politician.

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This text looks at some of the ways in which the Ojust societyO has been conceived in a number of representative social systems. While the principal theme is that of justice, the underlying themes are those of political and religious ideology.

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Lucian Blaga was an early twentieth-century European philosopher whose work was suppressed at the height of his career by the creation of the Romanian Socialist Republic. The thesis of this book is that Blaga's philosophy can make valuable contributions to contemporary Anglo-American philosophy. Blaga's philosophical system is explained in detail.

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This book offers the fullest critical account to date of the literary career of Mark Akenside (1721–1770). In the course of the discussion, Akenside's literary achievements and his contributions to the vibrant cultural scene of the mid-eighteenth century are amply demonstrated, as well as his intellectual originality, his inventive use of source material, and his influence on poets and philosophers in the late eighteenth century and the Romantic period.

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This volume offers the first translation into English of two seminal works by the seventeenth-century French woman author, Marie-Catherine Desjardins, better known as Madame de Villedieu. The first of these works, Lettres et billets galants (Love Notes and Letters), was published in 1668 and contains her most intimate letters to her lover, Antoine de Villedieu. The second work, Le Portefeuille (The Letter Case), which appeared in 1674, is an epistolary novel composed of a series of ten letters from the Marquis de Naumanoir to a nobleman in the provinces. These letters recount in a delightfully playful manner the amorous misadventures and intrigues of a half-dozen Parisian socialites. This work's close ties in terms of content and form to the publication of Villedieu's Lettres et billets galants six years earlier make it a perfect complement. The author's introduction offers not only a critical interpretation of these works but stresses the importance of the publication of Desjardins' authentic correspondence as a turning point in her career and key to her later works. Lettres et billets galants, published by Claude Barbin, sparked public interest in the identity of the author. It soon became known that the writer was none other than the immensely popular novelist Marie-Catherine Desjardins, and that her letters to her lover, whose name she would later appropriate as her nom de plume, had been published against her wishes. The publisher's only concession was to have them appear anonymously, thereby losing the advantage of Villedieu's name, but gaining readership through public interest in this authentic correspondence. The author was incredulous and indignant. She argued that these letters, which had not been intended for publication, lacked the polish of her other works. Lettres et billets galants (Love Notes and Letters) serves as a key, however, to the interpretation of subsequent writings. After 1668 Villedieu's authorial stance shifts markedly, as she attempts to regain

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A Studio of One's Own: Fictional Women Painters and the Art of Fiction is a critical study of the portrayal of women artists in nineteenth- and twentieth-century novels in English, including British, American, Irish, and Canadian women writers. This book traces the gradual progression from amateur parlor painters in the novels of Jane Austen, Charlotte Bronte, and others, to the serious professional painters depicted by contemporary writers such as Margaret Atwood, Mary Gordon, and A. S. Byatt. In fiction as in history, the woman artist's working space enlarges through time - by uneven steps - from a portfolio in a cupboard to a studio or atelier where work may be completed and prepared for sale or exhibition. This working space is a measure of the claim that the artist makes upon the world. Unlike several previous critical studies, which interpret the term 'artist' broadly so as to include women writers and musicians, A Studio of One's Own restricts the subject to visual artists to allow a sharper focus on the many and varied transactions between the sister arts of painting and fiction. In particular, a writer's use of ekphrasis - verbal descriptions of works of visual art - serves to authenticate the fictional painter and to manifest the tensions between verbal and visual representation. The purpose of this book is, first, to interpret the implied dialogue of the writers with the artist figures they create so as to reveal the writer's view of creativity in both its aesthetic and political dimensions; and, second, to explore certain remarkable continuities in the imagery depicting women artists in the novels. Most notably, recurrent images present the artist as liminal and her work as suspended or unfinished, terms which reflect not only the woman painter's historic marginality, but also her creative potential. In eight of the novels under discussion, the painter lives or works at the edge of an ocean, a literally liminal position with a variety of symbolic implicati

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What did it mean to be a woman in sixteenth-century Venice? This volume explores the role of Venetian women in sixteenth-century culture as well as the contribution of the writer Moderata Fonte to the centuries-old Owar of the sexes.O

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This work argues that Shakespeare can be appropriated by both dominant and marginal groups to lend cultural currency to their own works. While his cultural status may be used to subvert traditional ideas of politics and letters in Eliot and Swinburne, it may also be used to promote more conservative policies and literary interpretations in other writers such as Browning and Dickens.

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This volume is a collection of essays by various academics looking at how identity is shaped, gendered, and contested throughout PynchonOs work. By exploring sociological, anthropological, literary, and political dimensions, the contributors revise important ideas in the debate over individualism using political and feminist theory and examine the different ways in which their writings embody, engage, and critique the official narratives generated by AmericaOs culture.

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Internal crises and external conflict made stability a rare feature of city life in the northern Italian communities of the Renaissance. Negotiating Survival follows the many twists and turns of strategy and vision that enabled the republic to emerge transformed but intact from the enormous strains created by the Great Schism.

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This study of an extraordinary work of dramatic literature addresses questions on the nature and dissemination of the `scientific revolution.’ It uncovers a number of previously little appreciated connections of The Tempest with specific problems or advances of knowledge, thus showing that the play reflected innovative proto-scientific modes of confronting the physical, biological, and human realms.

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Natalia Ginzburg (1916-91), whose writing career spanned nearly a sixty-year period of Italian history, has been acclaimed for her clear, realistic prose and for her ability to portray, through the microcosm of the family, a macrocosm of Italian culture. Yet little criticism concerns itself with the specific perspectives and voices of her narrating daughters and mothers, and the presence of oedipal and pre-oedipal narrative within the ideological boundaries of family and society. This volume focuses on the broad theme of the maternal by tracing the development of the voices of Ginzburgs narrating daughters, mothers, and sisters.

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This book analyzes Dacia MarainiOs works in the light of Italian feminist discourse on the family. It features works in prose, poetry, theater, and cinema in the context of the literary considerations of the family populating twentieth-century literature. In its investigation of MarainiOs revisionary narratives, the study uses the metaphor of space to analyze the relational sites in which MarainiOs heroines develop and the generic spaces through which they express themselves.

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This is the second in a three-volume literary biography of Evelyn Waugh. Relatives, wives, children, friends, and associates inspired much of WaughOs writing, and this book traces the origins of his fiction in his experience. More than most of the other books about Waugh, this volume draws on his diaries, letters, journalism, travel books, and autobiography.

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This book examines how British Romantics such as Lamb, Coleridge, and Hazlitt put their idea of reading a play into practice in their criticism of Shakespeare, and how their concept of reading is related to the reader-response theory of the twentieth century. It provides a rightful assessment of the validity and modernity of British Romanticism by looking into a set of shared assumptions and procedures that exist between Romantic and contemporary theories of the relation of the text to the reader.

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This book chronicles the existence of the cityOs first great opera house. It is also the story of Albert and Uranus Crosby, who migrated from Cape Cod to Chicago, where they made their fortunes and later sacrificed it all in their efforts to bring a new cultural enlightenment to their adopted city. The advent of CrosbyOs Opera House and the labors of its founders caused a cultural awakening so profound that it unquestionably set the stage for ChicagoOs later becoming one of AmericaOs great cultural centers.

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John Fowles and Nature is a collection of fourteen essays about the representation of nature in fiction and nonfiction writing by Fowles. Most focus on relationships between Fowles’s novels and his essays about nature, but some look at his lesser-known book about islands, one of the worlds of his poetry. An afterword by John Fowles offers his own reflections on the symposium from which this collection emerged. Illustrated.

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This volume studies the impact of French thought on the American world of learning during the 1970s and the 1980s as well as the American response to the various discourses ranging from literary theory and philosophy to psychoanalysis and anthropology. The typical American reception of Derrida, Lacan, and Deleuze is discussed as well as the accommodation of French Ofeminists,O including Cixous, Wittig, and Irigaray. Contributors include Edward Said and Martin Jay.

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Lawrence Durrell: Conversations contains over thirty of the one hundred or more interviews in which Durrell participated during the last thirty-five years of his life. Many of these interviews are `celebrity’ interviews that grew out of his need to help publicize his writing. The collection of interviews also contains a number of `literary’ interviews in which academics in literature ask Durrell questions about his novels, poems, and travel books.

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