Search results for ""fairleigh dickinson university press""

This volume assembles the papers, presentations, and speeches from the 50th Anniversary Meeting of the International Association of University Presidents (IAUP) held in Oxfordshire in 2015. This book is a companion volume to the proceedings of the 1965 inaugural meeting of IAUP, also published by Fairleigh Dickinson University Press. The highlight of the 50th Anniversary Meeting was an academic conference at Oxford University on the theme of “Higher Education in 2065.” Participants were called upon to look ahead to the next fifty years of global higher education, drawing from their academic fields, as well as their leadership experience within and beyond higher education. The resulting collection includes discussions of current trends that will impact the future of universities, as well as discussions of specific challenges likely to face higher education institutions, both generally and in particular regions. Some contributors outline steps that higher education institutions and/or policymakers should adopt today to prepare for those challenges, while others imagine the university of the future. Edited by IAUP secretary-general emeritus Jason Scorza, this book is dedicated to the memory of J. Michael Adams, who served both as president of Fairleigh Dickinson University and president of IAUP, and includes some of his final writings on the topic of the future of global higher education. Founded in 1965, IAUP is the world’s largest association of university chief executives from higher education institutions. Membership is limited to individuals who serve or have served as presidents, rectors, or vice-chancellors at accredited colleges or universities.

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Embodying Difference: Scripting Social Images of the Female Body in Latina Theatre explores contemporary theatrical productions by Latina dramatists in the United States and focuses on the effects that neoliberal politics, global market strategies, gender formation, and racial and ethnic marginalization have had on Latinas. Through the analysis of select plays by dramatists Nao Bustamante, Coco Fusco, Anne García-Romero, Josefina López, Cherríe Moraga, Linda Nieves-Powell, Dolores Prida, and Milcha Sánchez-Scott, Embodying Difference shows how the bodies of Latinas are represented on stage in order to create an image of Latina consolidation. The performances of a dynamic female body challenge assumptions about ethno-racial expressions, exoticized “otherness,” and political correctness as this book explores often uneasy sites of representations of the body including phenotype, sexuality, obesity, and the body as a political marker. Drawing on the theoretical framework of difference, including differing gender voices, performances, and performative acts, Embodying Difference examines social images of the Latina body as a means of understanding and rearticulating Latina subjectivity through an expression of difference. By means of a gradual realization and self-acclamation of their own images, Latinas can learn to embody notions of self that endorse their curvaceous, sexualized, and oversized bodies that have historically been marked and marketed by their “brownness.”

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The lives of suffragist-communist-socialite Anita Whitney and Supreme Court Justice Louis Brandeis converged in the first quarter of the twentieth century when her 1920 conviction for violating the state's Criminal Syndicalism Act led to Brandeis's now classic Whitney v. California concurring opinion. It was during the Red Scare of 1919-20 that Whitney was arrested, tried, and convicted for her participation in the founding of the Communist Labor Party in California; seven years later, the U.S. Supreme Court upheld her conviction, with Brandeis writing a concurring opinion (which read like a dissent) in which he warned against the politics of fear, declaring 'fear breeds repression; repression breeds hate' and finally reminding us that 'men feared witches and burnt women.' Brandeis eloquently argued that the citizen's participation in public discussion is a 'political duty.' Before and after the High Court decided against her, Whitney had actively participated in the public debates, arguing for woman suffrage, for racial equality, and anti-lynching laws, for workers' free speech and assembly rights. Eventually, Whitney was vindicated when she was pardoned by California's Governor C.C. Young and when in 1969 the Supreme Court declared in Brandenburg v. Ohio that 'Whitney has been thoroughly discredited' and 'overruled.'

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This volume is a collection of ideas stated over a lifetime of service as administrator, diplomat, president, and Chief Justice. It singles out, from the total of Taft's writings and addresses, the essence of his convictions regarding government, diplomacy, and the law. Readers will find the ideas and beliefs of Taft as he dealt with a plethora of issues, principles, and judgments; a treasure of public wisdom satisfying in itself and yet stimulating to the point of prompting further investigation of Taft's public mind and personal convictions. In this undertaking there are three separate categories: political analyses, diplomatic explorations, and judicial deliberations woven into a pattern of a philosophy of government.

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This book discusses the relationship between the archive and the novel from Early Modernity to the digital age. The encounter between archival and novelistic discourses results in the archival novel, a fictional genre where the archive frames the readers' apprehension of the text. Archival fictions are self-reflexive texts that foreground the twofold role the archive plays in the composition of novels; providing novelists with reliable knowledge and organizing the written materials (notes, records, plans) that make writing possible. While the nineteenth century archival novels rely on the archive to guarantee their claims to truth, in the twentieth century they tend to expose the archive as a practice tied to social and political power. When the digital database started to replace the paper archive in the 1970s, the epistemic and technological foundation of the novel began to erode - a process that ultimately will render the novel an outdated cognitive tool.

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Anna Pavlova's revolutionary debut in 1910 at the Metropolitan Opera House captivated the nation and introduced Americans to the charms of modern ballet. Willa Cather was among the first intellectuals to recognize that dance had suddenly been elevated into a new art form, and she quickly trained herself to become one of the leading balletomanes of her era. Willa Cather and the Dance traces the writer's dance education, starting with the ten-page explication she wrote in 1913 for McClure's magazine called "Training for the Ballet." Cather's interest was sustained through her entire canon as she utilized characters, scenes, and images from almost all of the important dance productions that played in New York.

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Italian bourgeoisie appears to have lived through a period of intense rethinking of its own role in society. This collection of essays examines what has been, and will remain, essentially Italian in the development of the Italian bourgeoisie from 1870 onward. The starting point of the liberal-bourgeois cycles full emergence and making in the peninsula is traditionally marked by the accomplishment of the Italian national unification, an event that took place in the heart of the nineteenth century. Starting with the role of the individual facing major changes and choices in post-Unification Italy each essay analyzes a particular aspect of bourgeoisie to be intended as the ruling classwhile Italy undergoes rather drastic political, economic, and social transformations to arrive at the issues concerning contemporary Italian society and its heterodox social heritage, marked by historical events of great importance, particularly the two World Wars, the Fascist ventennio, the colonial enterprises of Mussolinis regime, the Jewish persecution, the aftermath of World War II, and domestic terrorism in the so-called lead years. The role of Italian bourgeoisie as an indicator, inspiration, and conscience in current pop and high culture, what this means to today's intellectuals, while also tracing the origins of this Italian identity in the past century is at the core of these essays.

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Speaking Pictures explores the complex negotiations between seeing and hearing essential to the audiences' experience in any dramatic performance. Ranging chronologically from the Middle Ages to the present, the essays consider a variety of methods that help us recuperate the visual impact of theatrical spectacle before the age of video archives. The anthology takes its discussion of performance beyond the physical space of the theater to examine texts that were meant to be spoken but not literally performed, such as medieval pageantry and closet dramas of the nineteenth century. Many essays focus on the Early Modern English stage, particularly the challenges of recapturing the totality of the original audience's experience in London's open air theaters by the examination of stage directions, text, and archival evidence. The collection concludes with a discussion of the contemporary actor's challenge in physicalizing the language of Early Modern plays, especially Shakespeare's.

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This book draws upon letters, diaries, memoirs, book reviews, and newspaper articles to present a picture of James Boswell from the vantage point of those who knew him best. We hear what family, friends, rivals, critics, and satirists thought of the man who produced such notable works as An Account of Corsica,The Journal of a Tour to the Hebrides with Samuel Johnson, and The Life of Samuel Johnson. Few major authors have generated such wildly fluctuating estimates over the years as Boswell. Both as a writer and as a man, he has stirred debate for more than two centuries. Scholars and critics have long differed, for instance, as to whether his Life of Johnson, published in 1791, is the finest biography in English or just "a pretty book" of questionable accuracy. One commentator recently maintained that his published journals are 'the greatest English autobiographical epic,' while another has dismissed them as the 'diary of a nobody.' Boswell has been acclaimed the greatest of modern biographers, but also attacked as a mere sycophant and fool. James Boswell: As His Contemporaries Saw Him reveals how contemporaries responded to the mans multifaceted talents and personality, and it reveals how estimates of James Boswell fluctuated just as wildly in his day as in ours.

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Long studied for historical, biographical, or sociological purposes, George Herbert's The Country Parson has not received the literary appreciation it deserves. Through a literary analysis exploring genre, themes, topics, emphasis, context, and models, this study finds The Country Parson to be a carefully conceived and executed piece of literary prose. Herbert wrote this work after the popular Renaissance courtesy book rather than in the more common homiletic style of contemporary clerical manuals. While his techniques for artful self-fashioning might have been borrowed from the pages of Castiglione or Della Casa, his purposes could not. Herbert believed in the mimetic effects of outer behavior in shaping the inner man. In The Country Parson Herbert used 'all possible art' to both describe and inspire the 'Form and Character of a true Pastour', that he and his fellow clergy may have a 'Mark to aim at'. The Country Parson should be seen as a carefully crafted piece of literary prose working within, but also transforming, the popular genres of clerical manual and courtesy book, using "all possible art" to please and instruct both pastor and church member and ultimately (as Herbert hoped) to serve God. Literary historians, Herbert students, and cultural historians will all find this study worth their examination.

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The Gothic is flourishing not just in Stephen King's novels and Quentin Tarantino's films, but also in the media renderings of phenomena like the O. J. Simpson case, and in characterizations of terrorism, in our political and popular discourses, in modes of therapy, on TV news, on talk shows like Oprah, in our discussions of AIDS, and of the environment. This collection of essays critically interrogates contemporary visualizations of the Gothic and the monstrous in film and media. The ongoing fascination with evil, as simultaneously repellant and irresistibly attractive in the Hollywood film, criminological case studies, popular culture, and even public policy, points to the emergence of 'Gothic criminology,' with its focus on themes such as blood lust, compulsion, godlike vengeance, and power and determination. What prompts this anthology is an explosion of books and films that link violence, images of 'monstrosity,' and Gothic modes of narration and visualization in American popular culture, academia, and even public policy. As Mark Edmundson notes, 'Gothic conventions have slipped over into ostensibly nonfictional realms. Gothic is alive not just in Stephen King's novels and Quentin Tarantino's films, but in the media and renderings of our political discourse, in modes of therapy, on TV news, on talk shows like Oprah, in our discussions of AIDS and of the environment. American culture at large has become suffused with Gothic assumptions, with Gothic characters and plots.' Nevertheless, there have been few critical anthologies aimed at an interdisciplinary approach focusing specifically on the complex continuum of fact and fiction, involving a dialogue that moves across the humanities (film criticism, cultural studies, rhetoric) and the social services communication, criminology, sociology) in exploring this phenomenon.

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This book is the first comprehensive chronological study of the works of a significant but little-known figure in early American history. A confidant of Thomas Jefferson, John Taylor of Caroline County, Virginia (1735-1824) represented the anti-Federalist position during the Constitutional debates and wrote extensively on government, economics, slavery, and liberty in each republic. Taylor's ideology blends Lockean liberal and Classical Republican ideas. This study fills an important gap in our understanding of early American political thought. This results in a surprising discovery that redefines the current scholarly debate on early American political thought. It finds that John Taylor reconciles Lockean liberalism and Classical Republicanism in ways that challenge the belief that liberalism's basis in natural rights, individualism, limited, impartial government, and laissez fair economics is incompatible with republican concern for civic virtue, corruption, patronage, public credit, stock companies, centralized government, and standing armies. Taylor's writings provide a revealing perspective on American government that clears away much of the confusion of recent scholarship and offers a view of the Constitution that will be startling to many twentieth-century minds. Ironically, the Classical Republican paradigm which resurrects John Taylor, is seriously challenged by his theories, and yet is responsible for rescuing him from the opprobrium of being the premier "states' rights" philosopher. Taylor's conception of government is based on the Lockean view that people are free, equal, and independent individuals who possess natural rights and should have the moral liberty to choose any form of government that suits them, without obligation to hereditary rulers or established social classes. Taylor acknowledges distinctions based only on individual merit: talents, education, and industry. Progress would occur as human reason improved and, therefore, government should be kept in close touch with its consti

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Eccentric Nation examines four performance events in nineteenth-century New York City in which Irish cultural nationalism was constructed and reinforced by musicians, actors, playwrights, speakers, parades, and athletes, and disseminated among diverse crowds that included both Irish and Anglo-Americans. Their contemporaries and more recent analysts alike have often taken these performance conventions as representations of a common Irish voice or a monolithic national identity. Close examination reveals a much more conflicted Irish community. What appeared as shared symbolism was contested among both Irish and Anglo-Americans. Masculine nationalist heroes, visions of a romanticized peasant class, evocations of collective memories, and the repetition of performance traditions all served to reinforce the idea of a single community bound together. Those symbols often gave rise to diverse meanings that were circulated in the urban populace. Each chapter examines the staging of these four events that produced dissension in the Irish community, providing insight into the ways that a nation is imagined in different ways by a broad array of people who have a stake in its existence, even if they often disagree about its core identity.

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This study examines the intellectual campaigns that transformed the Christiania Theatre from a Danish stage into the forerunner of Norway’s National Theatre. It focuses on the culture wars between the Norwegian nationalists and the so-called Danomanians in the 1830s; the promotion of the Hegelian and national romantic cultural-agenda in the 1840s and 1850s; Bjørnson’s and Ibsen’s rejection of both radical nationalism and the entrenched Danishness of the theater in the 1850s; and Bjørnson’s ambitious attempt to reform the theater in the mid-1860s.

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This book presents two unpublished plays by the English radical, John Thelwall (1764-1834), who, as a leading member of the prorevolutionary London Corresponding Society, was tried and acquitted of high treason in 1794. A close friend of Coleridge, Thelwall was a prolific man of letters who produced novels, poetry, journalism, criticism, scientific and political essays, and autobiography. Both plays, libretti for the London theater, are especially topical today as popular literary forms to polemicize critical issues of race, empire, revolution, and sexuality. Incle and Yarico (1787) comically treats the well-known eighteenth-century love story of Inkle and Yarico, in which an English merchant betrays and sells into slavery an Indian maiden, and innocent 'Noble Savage.' The play may well be the earliest drama penned specifically in the cause of abolition. The Incas (1792) allegorizes the French Revolution and the English suppression of dissent in portraying a confrontation between the Europeans and the New World. Drawing upon and extending the precepts of Enlightenment radicalism, Thelwall undermines the justifications for empire. These manuscript plays, recovered from library archives at Yale University and the British Library, add to the growing canon of an author whose reputation continues to be augmented by new discoveries and fresh insights. In separate introductions and explanatory notes, the editors contextualize each play in terms of the London theater, the slave trade controversy, representations of race, and opposition to empire.

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Bishop John Medley was associated with a revolutionary group, the Oxford Movement (also called the Tractarians), in the Church of England that sought to return the church to its primitive and Catholic heritage. Part of this revolution was a rejection of the comfortable relationship between Church and State that had existed since the end of the seventeenth century. Equally suspect because of their perceived Roman Catholic leanings and the potential for disloyalty to the English Establishment, the Tractarians aroused strong feelings throughout Victorian English society. Medley was associated with the key figures of the movement and involved in many of the religious controversies of this turbulent time. In addition, he had the responsibility of maintaining the unity of an ideologically divided church in a colonial diocese. This book illuminates one part of the great societal change that occurred in thenineteenth century as the British Empire both reached its apex and began to be transformed into diverse independent political entities. The role of the church and religion in this imperial enterprise and in subsequent movements toward independence is central to an understanding of this process. As an experiment, W. E. Gladstone, sometime Prime MInister of England and keen churchman, arranged to appoint a member of the controversial Tractarian party to the Episcopal bench. Because such a move was politically and ecclesiastically dangerous in England, Medley was sent to the colonies. Intended to be a planter of British High Churchmanship in the soil of the new world, Medley became convincd over the course of his forty-seven-year episcopate that the American model of the church was more practical than the British. He eventually forged an identity for his diocese that was, in many ways, to be the pattern for the modern worldwide Anglican Church. He played a major role in developing a modern, pluralistic, Canadian civil society. By examining previously unpublished original source materials and by subjecting Medley's

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Situated at the crossroads of gender studies, narratology, and cultural studies, this book investigates the impact that the demographic and cultural revolutions of the last century have had on Italian womens' life courses. The chronological focus of this study is the 1990s, a decade located at the end of a century deeply marked by womens' search for identity, their growth as historical subjects, and the demographic explosion of older women in Italy's population. The authors critical response is directed toward sensitizing readers of Italian womens fiction to a life-course perspective and guiding their responses to the age-based constructions that pervade the Italian cultural imaginary. Her assumption is that age consciousness affects narrative strategies; the critical questions and concerns that she addresses are incentives and guidelines to age-conscious reading and literary criticism. The study is divided into two parts that represent an ideal progression from contexts to texts. In the first par, the author traces changes in the representations of womens aging bodies during different phases of Italian history. The age-related cultural discourses she discusses in the first part of the book are in dialogue with the aging scenarios presented in the novels analyzed in the second part.

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This book assembles a cast of sixteen distinguished theater historians and performance critics, each of whom has contributed significantly to our understanding of issues associated with performing works of Shakespeare and his contemporaries. Their essays, all appearing in print for the first time, are presented in two groupings: a theater history and practice section, in which contributors examine matters related to performance in Shakespeare's time and our own, and a performance criticism section, in which contributors treat modern productions on stage and screen. In the theater history and practice section, Roslyn L. Kutson explores the 1599-1600 repertory of the Admiral's Men and the Chamberlain's Men, who performed in rival playhouses. Jay L. Halio studies playbooks to see how successive generations of actor, managers and directors modified the Shakespearean 'original' and how productions reflected such change. Alan C. Dessen investigates how scripted allusion and stage direction figure into patterns of production in the plays of Thomas Heywood. Focusing on evidence in 'A Warning for Fair Women', Andrew Gurr probes a playhouse practice of hanging the stage with black fabric to signal that the play was a tragedy. And Maurice Charney, engaging modern translations, delivers readers into the world of Shakespeare bardolatry. Variety defines the second section, which offers analyses of plays mediated by performance. Several essays focus on interpretive acts brought to particular scripts—Timon of Athens, King Lear, The Taming of the Shrew, A Midsummer Night;s Dream, The Merchant of Venice, Hamlet, Philip Massinger's The Roman Actor—while others examine stage and screen adaptations and offshoots, such as LInda Mussmann's M.A.C.B.E.T.H, Rome Neal's Julius Ceasar Set in Africa, Gil Juner's film 10 Things I Hate About You, and Tim Blake Nelson's movie O. Contributors to this section include John Timpane, Frances K. Barasch, Charles A. Hallett, Edward L. Rocklin, Michael D

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The accommodation of popular icons on stage and the results this framing yields constitute this work’s primary interests and aims. Plays studied include Sam Shepard’s True West and Marsha Norman’s The Holdup.

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The liturgical drama arose in a period of rapidly integrating feudalism. Christians experienced contradiction between a Church that offered salvation and a Church that, through its large landholdings, exploited a large number of peasants. This study examines the attempts made by clergy to revitalize faith by creating new theology, new music, new prayers, tropes, new rituals, and the drama.

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This book offers the American immigrant writer, editor, and social criticOs insights about democracy and diversity in the ongoing Oculture wars.O

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This book explores how Head's writing is her idiosyncratic response to her personal life. Her desire to portray and yet subvert oppression that she encountered in South Africa and Botswana led to a romanticism born of her need to create an antithesis to what she perceived to be the reality around her.

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Writers of the Beat Generation were conscious that they shared thematic and philosophical concerns with writers of the American Renaissance. This study provides the first extended examination of interests held in common by these two groups. The writers studied include Emerson, Whitman, Dickinson, Kerouac, Ginsberg, and Baraka.

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This innovative study locates Joyce’s work in the context of politics and philosophy. This text examines Joyce’s response to the dominant linguistic and philosophical systems that, because of their inner logics of exclusion, inevitably produce economic, religious, and sexual victims.

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This collection models an approach to Shakespeare and cinema that is concerned with the `other’ side of Shakespeare’s Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of Hamlet, Greenway’s Prospero’s Books, Godard’s King Lear, Hall’s A Midsummer Night’s Dream, Taymor’s Titus, Polanski’s Macbeth, Welles’ Chimes at Midnight,I., and Van Sant’s My Own Private Idaho.

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This book studies the folk-taxonomy for English, and to some extent for the Germanic and Indo- European language families. The semantic fields studied are basic color terms, seasons of the year, geometric shapes, the five senses, the folk-psychology of mind and soul, and basic plant and animal life-forms. AndersonOs emphasis is on folk-taxonomies in Old and Middle English, and also on the implications of semantic analysis for our reading of early English literary texts.

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This book explores how and why the influential Norwegian artist Edvard Munch exploited late nineteenth-century physiology as a means to express the Symbolist soul. Munch’s series of paintings through the 1890s, known collectively as the Frieze of Life, looked to the physiologically functioning (and malfunctioning) living organism for both its visual and organized metaphors.

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This study uses the lives of four Tudor officials who were personal servants of the monarch_Sir Thomas Heneage, Sir Anthony Denny, Sir John Gates, and Sir William Herbert_to demonstrate the inertia of personal monarchy in spite of Thomas CromwellOs reform and reorganization of government. It also investigates the link between a courtier and a councilor, between a kingOs or queenOs man and a statesman.

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This study explores the intersection of vertical and horizontal elements_the vertical ascension of AhabOs drama and IshmaelOs horizontal integration of feeling, thought, and experience. This study builds upon traditional approaches as well as allowing science, geography, and aesthetic theory to broaden the understanding of MelvilleOs art.

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This book argues that tradition is not dissociable from processes of self-consciousness involving our capacity to situate ourselves in a world that includes a rich legacy of predecessors and precedents. It explores how language, the body, experience, imagination, desire, and affect are not dissociable from tradition as transference in the Freudian sense. This argument draws support from several major thinkers and offers new interpretations of them.

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Volume 1 covers the Early Years, Italy, and the Parisian Triumphs (1827-39). A register of names, maps, illustrations, musical examples, and annotations complete the critical apparatus.

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There is no detailed account of any of Elizabeth IOs progresses and none of the many references in biographies mention more than the major occasions, such as the spectacular visit to Kenilworth. In this pioneering work Dovey uses contemporary documents to study in detail a single, long progress, covering the court servantsO preparations, the stops en route, and the work of the Council, who had to go along.

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This study shows how, in the nineteenth century, Americans often described and narrated Italy as a way of reflecting on their own country and national identity in genres as various as travel literature, fiction, poetry, and journalism. Indeed, maintains author Leonardo Buonomo, Italy helped the Americans to relativize, if not redefine, the very idea of Americanness.

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The city has been the main setting for modern African-American literature, and the fifteen essays in this collection show that this body of writing has been remarkable for the variety of ways in which it has made significant affirmations about urban society in America.

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This book is an account of the impact of Tibetan Buddhism upon the Western imagination. Topics such as The Tibetan Book of the Dead, spiritual science and sacred technology, and the New Monasticism are discussed.

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This book supports the claim that David Mamet is possibly the first true verse dramatist by examining in detail his celebrated use of language as dramatic action. Five of Mamet’s best known plays are studied in detail: Sexual Perversity in Chicago, American Buffalo, A Life in the Theatre, Edmond, and Glengarry Glen Ross.

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Although supporters and critics of conductor Leopold Stokowski have disagreed over his contribution to symphonic music, a consensus developed that he was a man of paradox and mystery, an extrovert showman reclusively shy about who he was and what he was trying to do in music. This volume attempts to solve the mysteries. Includes an annotated discography.

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Marginal to Mainstream traces the near-miraculous progress of modern art in France in the first half of the twentieth century. Before World War One, it was a marginal phenomenon, largely absent from the museums, and bought and sold by a handful of second-string dealers; by the early 1950s it had been canonized as the representative form of the epoch. The triumph of modernism, and the simultaneous establishment of Paris as the crucible of modern art, were not the products of a coherent policy but of a stumbling and spasmodic process. France was the leading democratic nation in Europe, and it wanted its art to reinforce its prestige on the international stage, but no-one could agree how best to achieve this. The author shows how, amidst the policy squabbles and in-fighting of representative government, France fumbled its way towards an art of democracy, and in the process helped canonize modern art as the house style of democratic capitalism.

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Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn is the first book to link these five filmmakers together through an analysis of the relationship between filming one’s own body and the creative body. Through engaged artistic practices, these female filmmakers turn the camera to their bodies as a way to show the process of artistic creation and to produce themselves as filmmakers and artists in their work from 1987–2009. By making visible their bodies, they offer a wider range of representation of women in French film. Through avant-garde form, in which tangible corporeal elements are made image, they transform representational content and produce new cinematic bodies with the power to influence signifying practices in contemporary French culture. By rendering visible their artistic practice and praxis and their camera in their work—reflexive practices that also unite these filmmakers—these women also visually claim the role of filmmaker and creative subject. Thus they establish their authority in a film industry in which women’s participation and recognition of their achievements have historically been lower than that of their male counterparts.

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Modern literary scholarship has traced the ways in which a distinctly modern sense of selfhood and subjectivity, and of the individualist liberal society in which such a self takes shape, emerges from the drama and poetry of the early seventeenth century. John Milton, writer of the greatest long poem in English, Paradise Lost, takes up the challenge of modern character and social formation from Shakespeare and Donne and their contemporaries. He begins this task in his own early maturity, some thirty years before the publication of his great epic, with A Maske Presented at Ludlow Castle,I>, more commonly known as Comus. There has not been a major book-length study of Milton's Maske in the past twenty years, so Lady in the Labyrinth fills a major gap in Milton and Renaissance criticism. It comprehensively surveys, evaluates, and integrates recent and traditional criticism of Comus in the context of Milton's other work, while developing new directions for study, focusing anthropological and psychological analysis on the poem's characters and mythological dimensions. Parallels between the ritual elements of the Maske and the rites of passage of non-European cultures will widen the horizons of both canonically based and multiculturally engaged scholars and writers. The book's study of Milton's identification with his female hero, and his advocacy of womens ethical, sexual, and political autonomy, gives a jolt to ongoing debates about Milton and feminism. The first of Milton's heroes of Christian Liberty, the fifteen-year-old Lady who performs in his Maske, is also the first of his characters to act out this transformation of human identity. Lady in the Labyrinth treats Comus, first performed in 1634, as a rite of passage for its Lady, and for the emerging culture whose hopes are invested in her. Displaying in song, argument and dance such character qualities as inferiority, self-consciousness, flexibility, and independence, the Lady gives vital form to

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Waiting for the End examines two dozen contemporary novels as demonstrations of the continuing concern with the gender of ending in narrative. Traditional concepts of the role of ending came under question in the later twentieth century, as feminists began to argue that the structure of "rising action" and "climax" was patently masculinist. The effort to theorize alternatives to that structure was echoed by contemporary novelists, male as well as female, who sought to complicate conventional notions of ending. Often those complications of ending(s) have spoken to a growing awareness that ending in narrative is artificial and that plot structure and ending need to make gestures toward the reader's sense that while narrative may end, what narrative attempts to represent will always evade the artifice of fiction.

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Americans and other English speakers have long associated the name of Hans Christian Andersen exclusively with fairy tales for children. Danes and other Scandinavians, however, have preserved an awareness that the fairy tales are but part of an extensive and respectable lifework that embraces several other literary forms. Moreover, they have never lost sight of the fact that the fairy tales themselves address adults no less than children. Significantly, many of Andersens coevals in the U.S. knew of his broader literary activity and the sophistication of his fairy tales. Major authors and critics commented on his various works in leading magazines and books, establishing a noteworthy corpus of criticism. One of them, Horace E. Scudder, wrote a seminal essay that surpassed virtually all contemporary writing on him in any language. The basic purpose of this study, the first of its kind, is to trace the course of American Andersen criticism over the second half of the nineteenth century and to view it in several American contexts. The introduction sets the parameters of the study, interalia posing a number of questions that serve as guidelines for reading. For instance, how does the (in part) retrospective criticism of the early 1870s compare with that of the later 1840s? To what extent did Americans view Andersen as a writer for adults as well as for children? Chapter 1 presents a statistical overview of American Andersen criticism, seeking to show which works were reviewed when and how often as well as in which magazines and with what frequency. The chapter also highlights works that were not reviewed, suggesting the possible impact on Americans' view of Andersen.

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This book sets out to reconstruct and analyze the rationality of Phineas Fletchers use of figurality in The Purple Island (1633) a poetic allegory of human anatomy. To this end, textual analyses of The Purple Island lead via bibliographical, biographical, conceptual, formal, and linguistic connections to other works of literature, natural philosophy and theology, and to anatomical demonstrations.

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What forms can religious experience take in a world without cult or creed? Organized religion is notably absent from J. R. R. Tolkien's Secondary Universe of elves, dwarves, men and hobbits despite the author's own deep Catholic faith. Tolkien stated that his goal was 'sub-creating' a universe whose natural form of religion would not directly contradict Catholic theology. Essays in Light Beyond All Shadows examine the full sweep of Tolkien's legendarium, not only The Lord of the Rings but also The Hobbit, The Silmarillion and The History of Middle-Earth series plus Peter Jackson's film trilogy. Contributions to Light Beyond All Shadows probe both the mind of the maker and the world he made to uncover some of his fictional strategies, such as communicating through imagery. They suggest that Tolkien's Catholic imagination was shaped by the visual appeal of his church's worship and iconography. They seek other influences in St. Ignatius Loyola's meditation technique and St. Philip Neri's 'Mediterranean' style of Catholicism. They propose that Tolkien communicates his story through Biblical typology familiar in the Middle Ages as well as mythic imagery with both Christian and pagan resonances. They defend his 'comedy of grace' from charges of occultism and Manichaean dualism. They analyze Tolkien's Christian friends the Inklings as a supportive literary community. They show that within Tolkien's world, Nature is the Creator's first book of revelation. Like its earlier companion volume, The Ring and the Cross, edited by Paul E. Kerry, scholarship gathered in Light Beyond All Shadows aids appreciation of what is real, meaningful, and truthful in Tolkien's work.

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Working toward an analysis of the influence of photography on the construction of an Italian "type" to serve the mandates of the new nation in the 1860s, this book engages the work of writers and photographers who have addressed or participated in this venture. From Giovanni Verga and Italo Calvino's writings to the conceptual visual philosophy of Tommaso Campanella and Luigi Ghirri's photography. From the Arcadic gaze of Baron von Gloeden to Tina Modotti's revolutionary vision, the works analyzed in this book have all contributed in shaping our contemporary visual vocabulary. And, while Italy is at the center of my considerations, the ideas that populate this work are in many ways globally applicable and relevant. Looters, Photographers, and Thieves seeks to contribute to the fascinating discourse on the photographic image and its specific uses in the representation of racial, ethnic and gender difference, and suggest how the isolation of images according to the dictates of power relations might influence and condition ways of seeing. Finally, this book is meant as a locus where the images produced in the shaping of notions of citizenship and cultural relevance in nineteenth and twentieth century Italy might reveal the processes of the imaginary. As such, the arguments and images in each chapter thread through each other to propose ways by which to approach disparate subjects and forms in order to envision photographers themselves as seers rather than gazers.

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Deledda, the Nobel Prize winner of 1926, a century ago identified a psychosociological pathology: the arrested maturation of her male characters. Throughout her prose, truncated maturity functions as a psychological undertow, sucking down its suffers and the women who love them into the depths of fictive drama. Concomittantly she dissects male-female relationships within the framing leitmotiv of prolonged male adolescence, undergirded by a woman's boundless tolerance for male narcissitic despair. Deledda's literary strategy subverts conventional expectations in surprising ways, as she exposes the inner workings of a patronistic wolrd where her women can finally wield a fragment of power.

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One hundred fifty years ago, Thomas Carlyle was the intellectual gadfly whom many disagreed with but everyone read. Statesmen, philosophers, novelists, historians — anyone wrestling with the most vexed issues of modern life — had to come to grips with his writings. The book reassesses Carlyle for a new generation in no less serious circumstances. Readers rediscover a Carlyle who challenges an increasingly self-absorbed society, rails against the excesses of Capitalist greed, teaches "Captains of Industry" to embrace a new kind of leadership, restores a meaningful connection to the past, and draws our gaze to genuine heroism. This volume also celebrates the breadth of Carlyle's thoughts, along with that of Jane Welsh Carlyle, his wife and fellow intellectual traveler, covering topics from political philosophy and cultural critique, to education, historiography, biography, and the vagaries of editing. Thomas Carlyle truly emerges "resartus," or re-tailored, ready to speak with renewed hope to the weighty concerns of the present time.

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