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Franciscus Junius the Younger (1591-1677) is famous as virtually the founder of Germanic philology. But he also composed, at the request of the Earl of Arundel, whom he served as librarian, an influential treatise on the art of painting as it is viewed in ancient literature. We are fortunate to have his recently discovered marginalia to the works of Philip Sidney. It is the relationship between his treatise, "The Painting of the Ancients" (1638), and his Sidney marginalia that is the focus of the present book. Together, they offer a commentary on the familiar Renaissance analogy ut pictura poesis and the essential role of the imagination in both poetry and painting. Living close in time to Sidney (1554-1586), Junius provides an exceptional insight into the poet's reception in the early seventeenth century. Judith Dundas is Professor Emerita of English at the University of Illinois.

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This anthology presents a series of new and important studies on an artist whose work is re-emerging to take its rightful place among the established icons of English modernism in the first half of the twentieth century. It is both timely, and in keeping with current scholarly re-reading of the era in general, through recent publications, conferences, and several key exhibitions. Some of the essays present a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. The remaining essays emphasize a re-evaluative positioning of C. R. W. Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe. The title of the anthology draws attention, via this diverse character and his work, to debates surrounding modernism in London prior to, during, and in the aftermath of the Great War, and to the dilemma that artists experienced in these transitory years. Michael Walsh is an Assistant Professor of Art History at the Eastern Mediterranean University in North Cyprus.

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Educating the Educators consists of two narratives. The first discusses the paradigmatic shifts that have taken place within British Hispanism in response to the historical development of capitalism, through its competitive, monopolistic, and global stages. At the ideological level, these shifts correspond to the transformation of the traditional intellectual into a state functionary and, ultimately, into a technician or 'expert', totally subsumed under capital and charged with the management of 'cultural studies'. Running alongside, and locked into, this first narrative is a second, which, in the form of three autobiographical essays, traces the author's long trek from his childhood origins in a working class family, through the institutions of education- and the experience of embourgeoisement- to his attempts, within the Australasian, Carribean, and North American academies, to retrieve the legacy of socialism. These two narratives are brought into symbolic relation through a theory of ideological production that explores the radicalizing effects of contradiction and conflict within the otherwise unconscious reproduction of social relations.

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'The Manufactures of Literature' explores the effect of the development of the publishing industry upon "print culture" generally, and literature specifically, during the eighteenth century. The book is structured around case studies of important writers and publishers, including Addison and Steele, Pope, Johnson, Robert Dodsley, and Frances Burney.

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The essays contained in this volume help trace the course of Shakespeare criticism during the latter half of the twentieth century, as emphasis on critical interpretation experienced a number of significant shifts. Genre studies, textual analyses, and feminist approaches are all represented here, along with three new essays never before published on the 'Winter's Tale' and the 'Taming of the Shrew'.

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'Dooble Tongue' is an imaginative meditation on Robert Burns and Scottish poetry, as well as a book that engages and contests the customary assumptions and practices of literary criticism. Beginning with an examination of two contemporary Scottish poets, W.N. Herbert and Robert Crawford, and moving back in time to the Scottish Modernist master Hugh MacDiarmid, then further back to Burns himself, the study of the Scottish tradition is situated in a broad historical context. The focus throughout is on language (particularly Scots), more broadly vernacular literature in relation to culturally elite literary and critical modes- as well as on questions of literary nationalism and the cultural politics of poetic discourse.

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McAdam illustrates how two fundamental points of destabilisation in Marlowe's life and work - his subversive treatment of Christian belief and his ambivalence toward his homosexuality - clarify the plays' interest in the struggle for self-authorisation.

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"The Witness Trees" tells through poetry, eyewitness accounts, and a moving historical narrative the tangled web of Lithuanian Jewish history. David Wolpe, a powerful Yiddish poet and writer, reports on the events during the summer of 1941 when the Jews of Keidan, a Lithuanian shtetl [village], were systematically massacred by local towns people. He was one of the few survivors when 2,076 men, women, and children perished and he describes in detail how a relatively cooperative and amicable community became a killing field.

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The tradition of Christian epics, born out of Biblical stories and Homeric poems, counts among its most influential exponents Dante, Malory, Tasso, Spenser, Milton, Blake, Goethe, and Joyce (along with Virgil as its "founding father"). Balsamo's Rituals of Literature is devoted to Joyce's and Dante's special contributions to this tradition. By highlighting the integrated nature of its typical tropes, Joyce and Dante establish the historical identity of the Christian epic as a distinct literary genre.

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Examines the role of familial relationships in nineteenth-century English literature

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Challenges the current orthodoxy in feminist criticism and pedagogy that "books change lives" by reexamining key feminist texts that attempted to be instruments for both personal and social change in the lives of their readers. The book uses reception studies of writers from Mary Wollstonecraft to Marilyn French to show that feminists' faith in the power of written or filmic texts as principal means to social change has been misplaced. It emphasizes important "second wave" works of popular feminism in order to argue that the cultural moment for belief in consciousness-raising texts has now passed, critiques feminist criticism's continued dependence on this model of oppositional possibility.

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This study is an investigation of the arrival, planting, and expansion of the Church of England in Loyalist New Brunswick. The obstacles encountered in setting up missions in the frontier both before and after the arrival of Bishop Charles Inglis are documented. It is revealed that the origins, qualifications, zeal, and adaptability of the colony's missionaries were key factors in the Church's foundation and success. Legislated establishment, although British policy, proved half-hearted and of little benefit in colonial New Brunswick. While imperial attention to colonial religious policy was short-lived, the continued interest and aid of the Society for the Propagation of the Gospel (SPG) was crucial. Despite their always insufficient funds and the London-based Society's inability to fully understand and appreciate the New Brunswick reality, the SPG remained the only secure source of clerical income. Given the frontier economy, SPG funds were critical to the Church, but it was in the end the exertions of Bishop Inglis and his small band of former New England missionaries who effected, the establishment and long-term viability of the Church of England in Loyalist New Brunswick.

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This is the first English translation of a series of letter written by the French poet Jean de La Fontaine (renowned for his Fables) to his wife, describing his travels from Paris to Limoges in 1663. The letters contain a wealth of observations and should appeal to all lovers of La Faontaie and to those interested in the Grande Siecle and the era of Louis XIV.Robert Berger has published extensively on the art and architecture of the Louis XIV period and on the history of Paris.

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This book is an original philosopical contextualisation of Wagner's final music-drama in which an analysis of both the sexual dynamics, and the religious and psychological symbolism of the action, provides the foundation for a fresh understanding of the most striking example of the conposer's life-long preoccupation with the feminization of redemption. In addition to discussions of the opera's historical and legendary sources, the author presents an examination of Otto Weiminger's fin de siecle polemic against Judaism and female sexuality, insofar as it has been regarded as itself Wagnerian. It is argued throughout the text that 'Parsifal' has much in it that is Pagan as well as Christian, and indeed that it is the unresolved pre-Christian and non-Christian tensions within the drama that contribute uniquely to its unsettling and still challenging nature.

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This is the first book in English to explore Italian "grotesque" theater in the twentieth century. Chiarelli's "The Mask and the Face" Antonelli's "A Man Confronts Himself", and Cavacchioli's "The Bird of Paradise" have been widely staged in Europe and the Americas by prominent directors, including Pirandello. These playwrights exercised a pivotal role in stage renewal, forged links with the most avant-garde contemporary thinking, and, some of them at least, set the pace for what became, much later, "theater of the absurd."

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Can there be a virtue in vengeance? Can revenge do ethical work? Can revenge be the obligation of women? This wide-ranging literary study looks at Shakespeare’s women and finds bold answers to questions such as these. A surprising number of Shakespeare’s female characters respond to moral outrages by expressing a strong desire for vengeance. This book’s analysis of these characters and their circumstances offers incisive critical perceptions of feminine anger, ethics, and agency and challenges our assumptions about the role of gender in revenge. In this provocative book, Marguerite A. Tassi counters longstanding critical opinions on revenge: that it is the sole province of men in Western literature and culture, that it is a barbaric, morally depraved, irrational instinct, and that it is antithetical to justice. Countless examples have been mined from Shakespeare’s dramas to reveal women’s profound concerns with revenge and justice, honor and shame, crime and punishment. In placing the critical focus on avenging women, this book significantly redresses a gender imbalance in scholarly treatments of revenge, particularly in early modern literature.

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Using Mikhal Bakhtin's concept of dialogism as a theoretical starting point, this volume investigates the manifestations of competing 'voices' within the tradition of lyric poetry. The lyric subject's understanding of himself/herself - through the very act of speaking/writing - is irrevocably connected, on multiple levels, to the heard and unheard voices of others. No matter how 'private' the voice of the lyric speaker appears to be, nearly every utterance is formed from and then positioned between what others have said or will say.Included here are essays on the classical, medieval, early modern, and modern lyric. Some of the essays engage Bakhtin 'head-on'; others by focusing explicitly on the construction of the subject through multiple discursive dialogues, implicitly bring Bakhtin to bear. These essays engage multiple elements of dialogism, including the convergence of masculine and feminine voices, public and private discourse, intertextuality and the 'voices of the past', the dialogue between literature and art, and the always present dialogue between speaker(s) and reader(s).

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Rev. George D. Byers, Presbyterian missionary at Kachek, Hainan island, China, was murdered by bandits in front of his home on June 24, 1924, setting off an extraterritorality incident that involved American, British, and Chinese government officials ranging from the local Chinese military commander to the British consul at Hoihow, Hainan, the Chinese Foreign Minister Wellington Koo, U.S. Congressmen, Presbyterians in China and the U.S., and friends of the Byers family. Based on American and British consular archives and those of the Presbyterian Church (USA) and members of the Hainan mission, this is the story of how Mrs. Byers and her ally, Mrs. Mabel Roys, the sole woman on the Presbyterian Board of Foreign Missions (BFM), successfully got the government and their church to take action. Kathleen L. Lodwick is a Professor of History at the Pennsylvania State University, Lehigh Valley.

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This is the first detailed exploration of one of the earliest major poems by Alexander Pope, Windsor-Forest (1713). The book reveals how Pope used the artistic conventions of the Stuart court, such as masque, architecture, allegorical painting, and heraldry to create the last great Renaissance poem in English. A coherent symbolic design is constructed around the themes of the river and the forest. Pope organizes the structure and style of the poem to create a prophetic version of nationhood, drawing on such sources as the plays of Ben Jonson, the Whitehall paintings of Rubens, the architecture of Inigo Jones, the panegyric work of Dryden, and the topographical poetry of Drayton. The political dimensions of the poem are considered in relation to the foundation of the South Sea Company in 1711, with its foreshadowing of imperial issues to come. The book will spark further interest in a poem that has been gaining increasing attention recently from writers such as E. P. Thompson and Laura Brown. It shows the centrality of Windsor-Forest in Pope's own career, and the centrality of Pope in the debates of his time. Pat Rogers is DeBartolo Professor in the Liberal Arts at the University of South Florida.

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Juan Carlos Rodriguez's "State, Stage, Language: the Production of the Subject", now in its third Spanish edition (2001), first appeared in 1984, and has become, alongside the same author's "Theory and History of Ideological Production" (1974, 1990), one of the classic texts to emerge from the Althusserian tradition. Rodriguez's project is to analyze the ideological unconscious that always exists, without becoming explicit, in any discursive field.Ideology is unconscious because we live it without noticing it, and we fail to notice it because it is visible only as the effect of a specific set of social relations. Rodriguez surprises the ideological unconscious at work within linguistics (Chomsky), the classic theater (Diderot and Moratin), various poetic traditions (Mallarme, Machado, and Alberti), the realist novel and detective fiction (Baroja, Chandler), and the vampire myth (Stoker, Borges). In the process, he overcomes a variety of obstacles that had previously blocked the development of Marxist theory.

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Offers an insightful assessment of how the work of Alfonso Reyes helped to create the role of the writer as a public intellectual in Latin America. It reconstructs Reyes's model of intellectual community, tracing its links to the various strands of the nineteenth-century traditions of philology, and argues that Reyes was influential in forging a sense of unity among the Latin American writers of his generation.

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This study examines the nexus between sexuality and religiosity in the career of nineteenth-century Calcutta's famous Bengali saint Sri Ramakrishna Paramahamsa (1836-86). Dr. Sil's pioneering psychological study (""Ramakrishna Paramahamsa: A Psychological Profile"", 1991) of this personality was followed by another book on Ramakrishna, published in 1998, which strongly argued against the saint's widely publicized homosexual orientation in the Anglo-American academe. The present book argues that he was not a homo spiritualis, in the strict sense of the term but a homo religious par excellence, and that, far from being a Shakta/Tantrika devotee of the Goddess Kali, he was essentially a bhakta (devotee) in the Vaishnava tradition - his cultural and family inheritance. His idea of the divine and his life and teachings as a mystic and saint provide ample justification to consider him essentially a Vaishnava whose spiritual battle cry was to demand to have a mystical dalliance with God. Narasingha P. Sil is Professor of History at Western Oregon University.

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Does experiencing a suspenseful situation allow one to develop virtue? The suspense writer Charlotte Armstrong (1905-69) no doubt believed that it could. In her works, she implied the benefits of experiencing suspense by illustrating the rhetorical benefits of resolving it. Thus, in their dealings with other characters, her protagonists discover a virtuous approach to resolving suspense that involves an expanded view of the language one uses and the perspective one adopts.This book examines Armstrong's contribution to the suspense genre through an exploration of her childhood diaries, adult correspondence, published and cinematic works, reviews of those works, and the recollections of her agent, children, and grandchildren. What emerges is the portrait of a writer whose determination, curiosity, analytic mien, adventuresome spirit, and ideas about humanity shaped her writing in ways that fascinated her critics and readers, a fascination that perhaps unconsciously recognized the virtue of suspense in her works.

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"Center or Margin: Revisions of the English Renaissance in Honor of Leeds Barroll" includes essays by Catherine Belsey, Harry Berger, Jr., Philippa Berry, Raphael Falco, Jean E. Howard, Lena Cowen Orlin, Patricia Parker, Phyllis Rackin, Bruce R. Smith, Barbara Maria Stafford, Peter Stallybrass, and Susanne Woods. With sections on "England at the Margins," "Researching the Renaissance," "The Human Figure on the Stage," and "Artificial Persons," the collection makes interventions in historiography as well as history, literary interpretation, and also literary criticism. Some of the issues are England's marginal status in the sixteenth- and seventeenth- century world; the re-centering strategies of the Renaissance public theater in both time and space; mutually reinforcing fallacies engendered by common practices of canon formation and historical narrative; the central meanings of marginal characters in Shakespeare and Milton; and the re-historicizing of human sensory perception, early modern subjectivity and self-presentation, group dynamics, and post-structural theory. Lena Cowen Orlin is Professor of English at the University of Maryland Baltimore County and Executive Director of the Shakespeare Association of America.

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Sara Pujol Russell's poetry is extraordinary for the density of presence and for its lyrical complexity. This is highly conceptualized, metaphysical poetry that challenges us to unwrap her imagery word for word and thus to enter intimately into her special universe. Such poetry relies less on narrative and more on the compulsion of words themselves. As Pujol herself remarks, "the anecdote is not important - it only interests me insofar as it is the celebration of the heart of flames, as a festival of reason leaning into its own ardor - if it is a vital experience surpassing its own circumstance, if it is spiritual life transcending its own limitations, if it is an interpretation of being and existing in the world." She has been publishing poetry since the 1980s. Her poetry has appeared in Catalan and Spanish, and has been translated into Italian, French, Portuguese, Lithuanian, and Chinese. This is the first English translation of her poetry and includes poems from three of her books, "El fuego tiende su aire", "Intacto asombro en la luz del silencio", and "Para decir si a la carencia, si a la naranja, al azafran en el pan". Noel Valis is Professor of Spanish at Yale University.

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Current theories of knowledge, art, and power are locked into sterile debates around the question of representation. This book examines the limits of antirepresentationalism in these fields and argues that the anarchist tradition can point the way beyond our contemporary "crisis of representation." The author rereads the theory and practical experiences of anarchism from the nineteenth century to the present, proposing a radical revision of received notions of the subject - from the equation of anarchy with literary "decadence" to the interpretation of anarchism as yet another discourse founded on a notion of the "human essence." What emerges, instead, is a complex portrait of anarchism as a body of thought that provides the framework for a kind of critical realism, with implications for fields ranging from aesthetics to economics, from philosophy to politics. Jesse Cohn teaches English at Purdue University North Central.

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This work offers a study on the problematic of a scientific knowledge of the sensible reality in the Enneads. In so doing, it presents a radical new perspective on the philosophy of Plotinus and engages in an intense, detailed, and critical rereading of Plotinus and his commentators.

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This is a history of the Olmsted Case. The events of this history began in 1778 when Gideon Olmsted, a Connecticut sea captain held prisoner by the British, overcame his British captors and sailed their ship, the sloop Active, into American waters. He claimed the Active as a prize of war. The state of Pennsylvania also claimed the Active and refused to grant Olmsted his prize. The stubborn sea captain pursued his claim through the state and federal courts for thirty years. In 1809, the United States Supreme Court, in United States v. Peters, ruled in Olmsted's favor. The case was not resolved, however, until after an armed confrontation between the federal government and the state of Pennsylvania.

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Saradamani's reputation as the Holy Mother of the Ramakrishna Order was due to two factors: Her devotees and disciples loved her as their own mother and worshiped her as a goddess because she was the widow of the late Ramakrishna Paramahamsa, who had been considered a god. Second, and more important, Sarada's character and conduct endeared her to everybody who came in contact with her. Treating all her associates as her own children she not only compensated for her deprivation of biological motherhood but by appropriating the values of the Calcutta middle class she discovered sources of empowerment in a preeminently male monastic order of a patriarchal society. Thus the success of Sarada's holy motherhood owed largely to her personal qualities, but its historical significance must be comprehended in the context of the evolving concept of Hindu (especially Bengali) motherhood. This pioneering study, based primarily on vernacular sources, explores the transition of Sarada's life of missed motherhood to a career of holy motherhood. Narasingha P. Sil is a Professor of History at Western Oregon University.

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Toni Morrison scholars as well as those interested in the creative process will be excited about a new feature that appears in this second edition of this book: a sampling of Toni Morrison's creative process. In Part Two of this critical work, the author spotlights some of the autobiographical kernels that appear in each of Morrison's novels. Part One offers a comprehensive study of Morrison's novels, demonstrating that each one is a thematic and structural offshoot of the preceding one, evidencing a pattern of growth in Morrison's consciousness of the exploitation and oppression of all people of African descent and of her commitment to struggle for a solution. The Bluest Eye investigates the effects of racism on African female children. Sula explores avenues of self-fulfillment, but in the process ignores the collective that nurtures her. Song of Solomon reveals Morrison's increased awareness of the impact of historical and current events on the nation-class oppression of African people. Tar Baby offers evidence of Morrison's awareness that capitalism is the primary enemy of African people. Beloved proposes the only viable solution if African people are to be truly liberated: collective struggle. Jazz avows that conditions make people wild, and conditions in the U.S. and the rest of the world are life-threatening for women in particular. Paradise reflects Morrison's recognition of the African's mistaken belief that the enemy is the "white man," rather than capitalism. Doreatha Mbalia is an associate professor of Africology at the University of Wisconsin-Milwaukee.

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