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• A contagious notion of trauma
• Community and poetry's maps
• Compassion across contexts : substitution, incorporation, and juxtaposition
• Accumulating suffering : waiting without end
• Signing skeletons : relational structures of the actual and artistic.

While trauma theory has been adopted by contemporary literary and cultural studies as an ethical way to study depictions of suffering, there is a risk that its present use could cause more harm than good. By emphasizing inaccessible histories, unspeakable suffering, and unconscious witnessing, trauma theory may lead readers to claim others' suffering through empathic identification. In With the Witnesses, Dale Tracy argues that poetry offers an alternative approach to engage with not only suffering in art but suffering in general. Examining the strategies of witness poetry, Tracy interrogates and reformulates the dominant models of trauma studies in which readers take over the witnessing position by identifying with the speaker as a witness. If the purpose of reading such poetry is to contribute to a chain of witnesses, what is the distinct role of a reader, and how does it differ from the role of the poem's speaker? Tracy proposes that metonymy - a logic of nearness rather than likeness - is compassion's formal manifestation. Analyzing poetry that emphasizes the contiguity of metonymy over the substitution of metaphor, she attends to the positions into which witnessing speakers invite readers. Poems that respond to diverse national and transnational contexts of atrocity, conflict, and marginalization guide With the Witnesses toward a compassionate response to suffering that involves feeling with - not as - another. Following each poem as a unique theory of compassion, With the Witnesses demonstrates that poems hold suffering signed as art, not claimable traces of suffering.
(source: Nielsen Book Data)

• Introduction: Life Writing in an Age of Trauma Gabriele Rippl (University of Bern)/Philipp Schweighauser (University of Basel)/Therese Steffen (University of Basel) I. Life Writing and Trauma: Theorizing the Vicissitudes of Representing Violence
• 1. Seeing Ghosts: Theorizing Haunting in Literary Texts - Tiina Kirss (University of Tartu)
• 2. Trauma and Utopia: Benjamin, Adorno, and Elie Wiesel's Night - Philipp Schweighauser (University of Basel) II. Auto/biographies as Trauma Narratives
• 3. Richard Wollheim's Germs: Life Writing as Therapy, Despite Theory - Julia Straub (University of Bern)
• 4. Writing Childhood, Writing Lack - Maarja Hollo (Estonian Literary Museum)
• 5. Loquacious Silences: Vikram Seth's Two Lives and the German Language - Nora Anna Escherle (University of Bern)
• 6. Unsayable or Merely Unsaid? - Eneken Laanes (Estonian Academy of Sciences)
• 7. Voicing Trauma in the Deportation Narratives of Baltic Women - Leena Kurvet-Kaosaar (Tallinn University)
• 8. Trauma Narratives and National Identity - Annie Cottier (University of Bern) III. Limit-cases: Exploring the Limits of Telling Pain
• 9. "Metaphors for the Scots Today": History and National Identity in Scottish Drama after 1945 - Stefanie Preuss (University of Konstanz)
• 10. Aspects of Post-Imperial Constructions of Nationhood - Eva Rein (University of Tartu)
• 11. Anecdotalization of Memory in Jaan Kross' Paigallend - Eneken Laanes (Estonian Academy of Sciences)
• 12. Meddling with Memory--Negating Grand Narratives - Nora Anna Escherle (University of Bern)
• 13. Fighting Fear with Writing: Christa Wolf's Kindheitsmuster and Ene Mihkelson's Ahasveeruse uni (The Sleep of Ahasuerus) - Aija Sakova (Tartu University)
• 14. The Stigma of the Autobiographical - Julia Straub (University of Bern)
• 15. The Search for the Lost Parent in Joy Kogawa's Obasan and Ene Mihkelson's Ahasveeruse uni (The Sleep of Ahasuerus) - Eva Rein (University of Tartu)
• 16. Making the Silence Speak: A Critical Discussion of Trauma Transmission and Identity Formation - Stefanie Preuss (University of Konstanz) IV. Fictions of Loss and Trauma
• 17. (Re-)Visions of the Buried Self: Childhood Trauma and Self-Narration in Margaret Atwood's Cat's Eye - Christa Schonfelder (University of Zurich)
• 18. Grasping Patterns of Violence - Aija Sakova (Tartu University)
• 19. Nostalgia and Redemption in Bernard Kangro's Joonatan-Novels - Maarja Hollo (Estonian Literary Museum)
• 20. Renegotiations of Longing and Belonging: Exile, Memory and Nostalgia - Christa Schonfelder (University of Zurich)
• 21. Haunted Whispers from the Footnotes: Life Writing in Raj Kamal Jha's Fireproof - Annie Cottier (University of Bern)
• 22. What Only Fiction Can Do - Leena Kurvet-Kaosaar (Tallinn University) Afterword: Ethical and Political Aspects of Life Writing and Remembering - Margit Sutrop (University of Tartu).
• (source: Nielsen Book Data)

Exploring life writing from a variety of cultural contexts, Haunted Narratives provides new insights into how individuals and communities across time and space deal with traumatic experiences and haunting memories. From the perspectives of trauma theory, memory studies, gender studies, literary studies, philosophy, and post-colonial studies, the volume stresses the lingering, haunting presence of the past in the present. The contributors focus on the psychological, ethical, and representational difficulties involved in narrative negotiations of traumatic memories. Haunted Narratives focuses on life writing in the broadest sense of the term: biographies and autobiographies that deal with traumatic experiences, autobiographically inspired fictions on loss and trauma, and limit-cases that transcend clear-cut distinctions between the factual and the fictional. In discussing texts as diverse as Toni Morrison's Beloved, Vikram Seth's Two Lives, deportation narratives of Baltic women, Christa Wolf's Kindheitsmuster, Joy Kogawa's Obasan, and Ene Mihkelson's Ahasveeruse uni, the contributors add significantly to current debates on life writing, trauma, and memory; the contested notion of "cultural trauma"; and the transferability of clinical-psychological notions to the study of literature and culture.
(source: Nielsen Book Data)

• Gossip girls: Lady Teazle, Nora Helmer, and invisible-hand drama / Joseph Roach
• "Vinløv i håret": the relationship between women, language, and power in Ibsen's Hedda Gabler / Tanya Thresher
• "¡Silencio, he dicho!": space, language, and characterization as agents of social protest in Lorca's rural tragedies / Bilha Blum
• The money shot: economies of sex, guns, and language in Topdog/Underdog / Myka Tucker-Abramson
• The space stage and the circus: e.e. cummings's Him and Frederick Kiesler's Raumbühne / Allison Carruth
• How to do nothing with words, or waiting for Godot as performativity / Richard Begam
• Reinventing Beckett / S.E. Gontarski
• Uncloseting drama: Gertrude Stein and the Wooster Group / Nick Salvato
• Synge's Playboy and the eugenics of language / Nicholas Crawford
• The Pillowman and the ethics of allegory / Hana Worthen and W.B. Worthen
• Cognitive catharsis in The Caucasian chalk circle / R. Darren Gobert
• Jane Harrison and the savage Dionysus: archaeological voyages, ritual origins, anthropology, and the modern theatre / Julie Stone Peters.

Exploring the relationship between dramatic language and its theatrical aspects, Reading Modern Drama provides an accessible entry point for general readers and academics into the world of contemporary theatre scholarship. This collection promotes the use of diverse perspectives and critical methods to explore the common theme of language as well as the continued relevance of modern drama in our lives. Reading Modern Drama offers provocative close readings of both canonical and lesser-known plays, from Hedda Gabler to e.e. cummings' Him. Taken together, these essays enter into an ongoing, fruitful debate about the terms 'modern' and 'drama' and build a much-needed bridge between literary studies and performance studies.
(source: Nielsen Book Data)

• Preface
• Henry James ('The middle years')
• Ludwig Wittgenstein (Tractatus logico-philosophicus)
• Gertrude Stein (Tender buttons)
• Paul Cézanne and Rainer Maria Rilke (Letters on Cézanne)
• Ernest Hemingway (In our time)
• Martin Heidegger ('What is metaphysics?')
• T.S. Eliot
• Virginia Woolf
• Samuel Beckett (Watt)
• Mark Rothko
• William Gaddis (The recognitions)
• Vladimir Nabokov (Speak, memory)
• Theodor Adorno (Negative dialectics)
• Susan Sontag ('The aesthetics of silence')
• Penelope Fitzgerald (The blue flower)
• Krzysztof Kieślovski (The double life of Véronique)
• Frank Kermode (The genesis of secrecy)
• Jacques Derrida ('How to avoid speaking : denials')
• Epilogue.

Ludwig Wittgenstein wrote in a 1919 letter that his work 'consists of two parts: the one presented here plus all that I have not written. And it is precisely this second part which is the important one.' In Omissions Are Not Accidents, Christopher J. Knight analyzes the widespread apophaticism in texts from the late nineteenth to the late twentieth century. In theology, apophaticism refers to the idea that what we cannot say about God is more fundamental than what we can; in literature and other works of art, Knight argues, it functions as a way of continuing to speak and write even in the face of the unspeakable. Probing the works of authors and intellectuals from Henry James to Jacques Derrida, Knight suggests that we no longer trust ourselves to speak about experience's most numinous aspect, and explores the consequences of the modern artist's tendency to imagine his or her work as incomplete. Ambitious in the scope of its investigation, Omissions Are Not Accidents lends insight into an important modern phenomenon.
(source: Nielsen Book Data)

• Silence, speech, voice, and the politics of testimony
• Witnessing as testimony: Toni Morrison's The bluest eye and Shani Mootoo's Cereus blooms at night
• Testimonial remembrance and historical narration: Louise Erdrich's Tracks and M.K. Indira's Phaniyamma
• Testimony, translation, and subalternity: Rashsundari Debi's Amar Jiban and Mahasweta Devi's Imaginary maps
• Witnessing, remembrance, and resistance: living and embodied archives.

Examining the creative acts of witness, remembrance, and resistance in writing by women of colour from a postcolonial feminist perspective.
(source: Nielsen Book Data)

• Sex maidens and Yankee skunks: a field guide to reading 'Canadian' movies
• Feminism, fidelity, and the female gothic: the uncanny art of adaptation in Kamouraska, Surfacing, and Le sourd dans la ville
• Images of Indigene: history, visibility, and ethnographic romance in four adaptations from the 1990s
• Critically queenie, or, trans-figuring the prison-house of gender: Fortune and Men's Eyes and after
• Space, time, auteurity, and the queer male body: policing the image in the film adaptations of Robert Lepage
• Ghost in and out of the machine: sighting/citing lesbianism in Susan Swan't The Wives of Bath and Léa Pool's Lost and Delirious
• Adapating masculinity: Michael Tuner, Bruce McDonald, and others.

"In Screening Gender, Framing Genre, Peter Dickinson examines the history and theory of films adapted from Canadian literature through the lens of gender studies. Unique in its discussion of a range of different adaptations, including films based on novels, plays, poetry, and Native orature, this study offers new and often provocative readings of works by such well-known Canadian authors as Margaret Atwood, Marie-Claire Blais, and Michael Ondaatije, and by such important Canadian filmmakers as Mireille Dansereau, Claude Jutra, Robert LePage, and Bruce McDonald."--Jacket.

• PREFACE: Someone Else's Life ix INTRODUCTION: The Fairy Godmother 1 "Advancement, of course" 1 "I don't want to be patronised" 10 Description of the Chapters 17
• CHAPTER ONE: Erotic Patronage: Rousseau, Constant, Balzac, Stendhal 22 Older Women 22 Interest, Disinterest, and Boredom 32 The Acquisition of the Donor 38 "... something a bit like love" 50
• CHAPTER TWO: How to Be a Benefactor without Any Money 55 "My brother's body lies dead and naked ..." 55 Saving Boys: Horatio Alger 67 "I wouldn't keep a pig in it myself": Great Expectations 73
• CHAPTER THREE: "It's not your fault": Therapy and Irresponsibility from Dreiser to Doctorow 86 Styles of Radical Antistatism: D. A. Miller and Christopher Lasch 86 Loyalty and Blame in Dreiser's The Financier 96 "... take hospitals, the cops and garbage collection": Budd Schulberg's What Makes Sammy Run? 109 "I like ... to be reliable": E. L. Doctorow's Billy Bathgate 117
• CHAPTER FOUR: A Portrait of the Artist as a Rentier 127 "Where are your nobles now?": Bohemia in Kipps, My Brilliant Career, and Trilby 127 "I don't think I should be unhappy in the workhouse": George Gissing, Perry Anderson, and the Unproductive Classes 136 "You're a Town Hall wallah, aren't you?": Pygmalion and Room at the Top 145
• CHAPTER FIVE: The Health Visitor 158 Dumpy: Carolyn Steedman's Landscape for a Good Woman 158 Personal: Richard Rodriguez's Hunger of Memory 167 Help: Tillie Olsen's "I Stand Here Ironing" and Alan Sillitoe's "The Loneliness of the Long-Distance Runner" 179 "I hate lawyers. I just work for them": Erin Brockovich 186
• CHAPTER SIX: On the Persistence of Anger in the Institutions of Caring 190 Anger 190 Caring: Kazuo Ishiguro's Never Let Me Go 199 Rising in Sociology: Pierre Bourdieu, Paul Willis, and Richard Sennett 210 Coda: Anger, Caring, and Merit 229 CONCLUSION: The Luck of Birth and the International Division of Labor 232
• Notes 245 Index 289.
• (source: Nielsen Book Data)

We think we know what upward mobility stories are about--virtuous striving justly rewarded, or unprincipled social climbing regrettably unpunished. Either way, these stories seem obviously concerned with the self-making of self-reliant individuals rather than with any collective interest. In Upward Mobility and the Common Good, Bruce Robbins completely overturns these assumptions to expose a hidden tradition of erotic social interdependence at the heart of the literary canon. Reinterpreting novels by figures such as Balzac, Stendhal, Charlotte Bront, Dickens, Dreiser, Wells, Doctorow, and Ishiguro, along with a number of films, Robbins shows how deeply the material and erotic desires of upwardly mobile characters are intertwined with the aid they receive from some sort of benefactor or mentor. In his view, Hannibal Lecter of The Silence of the Lambs becomes a key figure of social mobility in our time. Robbins argues that passionate and ambiguous relationships (like that between Lecter and Clarice Starling) carry the upward mobility story far from anyone's simple self-interest, whether the protagonist's or the mentor's. Robbins concludes that upward mobility stories have paradoxically helped American and European society make the transition from an ethic of individual responsibility to one of collective accountability, a shift that made the welfare state possible, but that also helps account for society's fascination with cases of sexual abuse and harassment by figures of authority.
(source: Nielsen Book Data)

• Acknowledgements Theo D'HAEN: Introduction: Cultural Identity and Postmodern Writing Jos JOOSTEN and Thomas VAESSENS: Postmodern Poetry Meets Modernist Discourse: Contemporary Poetry in the Low Countries Robert HAAK: Cultural Identity and Postmodern Writing in the Federal Republic of Germany, 1945-1989 Andrea KUNNE: Cultural Identity and Postmodern Writing in Austrian Literature Roel DAAMEN: A Confluence of Narratives: Cultural Perspectives in Postmodernist Scottish Fiction Patricia KRUES: Myth and Revolution in the Caribbean Postmodern Kristian VAN HAESENDONCK: Enchantment or Fright? Identity and Postmodern Writing in Contemporary Puerto Rico Nanne TIMMER: Dreams that Dreams Remain: Three Cuban Novels of the 90s Adriana CHURAMPI: A Race of Sleepless People Breaks into History Markha G. VALENTA: Tampering with the Nation: America, Postmodernism, Globalization - To the Beginning and Back Again.
• (source: Nielsen Book Data)

Cultural Identity and Postmodern Writing seeks to ascertain the relationship obtaining between the specific form postmodernism assumes in a given culture, and the national narrative in which that culture traditionally recognizes itself. Theo D'haen provides a general introduction to the issue of "cultural identity and postmodern writing." Jos Joosten and Thomas Vaessens take a look at Dutch literature, and particular Dutch poetry, in relation to "postmodernism." Robert Haak and Andrea Kunne do the same with regard to, respectively, German and Austrian literature, while Roel Daamen turns to Scottish literature. Patricia Krus discusses postmodernism in relation to Caribbean literature, and Kristian van Haesendonck and Nanne Timmer turn their attention to Puerto Rican and Cuban literature, while Adriana Churampi deals with Peruvian literature. Finally, Markha Valenta investigates the roots of the postmodernism debate in the United States. This volume is of interest to all students and scholars of modern and contemporary literature, and to anyone interested in issues of identity as linked to matters of culture.
(source: Nielsen Book Data)

• Contents
• Preface
• Acknowledgments
• Abbreviations
• 1. Introduction: Paradise Lost as an Allegory of Finitude
• The Skeptical Threat in Paradise Lost
• Paradise Lost in Light of Gadamer and Wittgenstein: Idling the Engine
• Conclusion
• 2. Skeptical Self-Contradiction in Hopscotch: Knowing, Being, Reading, Writing
• The Self-Contradiction of Cortázarâ€?s “Active Spectatorâ€?: How to Know? How to Be?
• The Confused Hermeneutics of Hopscotch: How to Read? How to Write?
• Conclusion
• 3. Kafka, Wittgenstein, and the Limits of Language

• Wittgensteinian Skepticism in The Castle: Inside and Outside the Language-Game at Once“On Parablesâ€?: The Value of Already Knowing That the Incomprehensible Is Incomprehensible
• Conclusion
• 4. The Skeptic and the Hermeneut in Joyce
• Stephenâ€?s Rejection of Finitude
• Bloomâ€?s Finite Existence and Hermeneutical Aesthetic, Bloomitas
• Conclusion: Joyceâ€?s Choices
• 5. Conclusion: Joyceâ€?s Teacup
• Works Cited
• Index

• Acknowledgements-- Introduction-- 1 Cold Warrior-- 2 Soldier Spy-- 3 Operatives-- 4 The Psycho in the Grey Flannel Suit-- 5 Rogue Cops I: San Francisco-- 6 Rogue Cops II: Los Angeles-- 7 Old Age Westerns-- 8 The Twilight Frontier-- Bibliography-- Index. Acknowledgements-- Introduction-- 1 Cold Warriors-- Post-war hegemonic masculinity-- The Organization Man-- The liberal self-- Pohl and Kornbluth's Gladiator at Law-- Towards the citizen-soldier-- Starship Troopers and the citizen-soldier-- The New Frontier-- 2 Soldier, Spy-- The split subject-- 3 Operatives-- Paranoia-- The conspiracy thriller-- 'I'm the only one who knows what this means'-- 4 The Psycho in the Grey Flannel Suit-- North by Northwest and The Game-- The mask and masquerade: Psycho and American Psycho-- Fight Club-- American Beauty-- Falling Down-- 5 Rogue Cops I: San Francisco-- Out of the West-- The confession-- Clint Eastwood and the Western-- Feeling Lucky-- The 'liberal' Harry-- 6 Rogue Cops II: Los Angeles-- Masculinity and governance-- 7 Old Age Westerns-- Western myth and Western ideology-- The Man Who Shot Liberty Valance-- The End of the West(ern): belatedness and the post-classical-- Western-- The Shootist-- The Wild Bunch-- 8 The Twilight Frontier-- Bibliography-- Index.
• (source: Nielsen Book Data)

This book looks at a wide range of fiction and film texts, from the 1950s to the present, in order to analyse the ways in which masculinity has been represented in popular culture in Britain and the United States. It covers numerous genres, including spy fiction, science fiction, the Western and police thrillers. Each chapter focuses on key forms of masculinity found in each genre, such as the 'double agent', the 'rogue cop' and the 'citizen-soldier'. Brian Baker takes a broad, contextual approach, placing a detailed discussion of key texts and issues concerning masculinity in their historical and cultural context. Written in a clear, accessible way, it explores the changing representation of men over the last fifty years.
(source: Nielsen Book Data)

• The knight's move : From theory to theatre
• Some old photos : Russian formalism in Russian avant-garde theatre
• Epic theatre in the age of mechanical reproduction
• In the hands of Angelus Novus : Form and ideology.

In a world flooded with information, images, and sounds - where the distinction between real and simulated becomes increasingly blurred - one of the most pressing concerns of the theatre is how to subvert the stock responses of an audience and make the well-known fresh and meaningful again. Situating the practice of theatrical estrangement firmly in its social and political contexts, Theatre of Estrangement looks at how this concern has manifested itself in Russian and German avant-garde theatre. Silvija Jestrovic traces the concept of estrangement from its early formulation in the Russian Formalist School of Literary Criticism embodied in the experiments of the Russian avant-garde, to its so-called apotheosis in the theory and practice of Bertolt Brecht. Drawing from a variety of sources - theatrical performances, dramatic works, visual art, film, political events, biographical data - she demonstrates that theatrical estrangement is not only an abstract theoretical postulate, but also a practical artistic strategy shaped by the cultural and historical climate. In the historical avant-garde, Jestrovic argues, estrangement became a way of thinking, a means of comprehending the world, and even a lifestyle. Yet, devices of making the familiar strange are destined to erode in one historical and cultural context and become rediscovered in another to rejuvenate stale art forms and open the door to a fresh and more critical perception of reality. Theatre of Estrangement attempts to make that rediscovery.
(source: Nielsen Book Data)

• Acknowledgements Kuisma KORHONEN: General Introduction: The History/Literature Debate I Hayden White and Textuality of History Introduction to Part I Hayden WHITE: Historical Discourse and Literary Writing Herman PAUL: An Ironic Battle against Irony: Epistemological and Ideological Irony in Hayden White's Philosophy of History, 1955-1973 Stanley CORKIN and Phyllis FRUS: History and Textuality: Film and the Modernist Event Kalle PIHLAINEN: The Confines of the Form: Historical Writing and the Desire that It Be what It Is Not II Narrativity Introduction to Part II Karl-Heinz STIERLE: Narrativization of the World Matti HYVAERINEN: Life as Sequence and Narrative: Hayden White Meets Paul Auster III History as Literature Introduction to Part III Andrew BURRELL: Narratives of the Fake: The Collected Object, Personal Histories and Constructed Memory Fiona MCINTOSH-VARJABEDIAN: Probability and Persuasion in 18th-Century and 19th-Century Historical Writing Claire NORTON : Fiction or Non-fiction? Ottoman Accounts of the Siege of Nagykanizsa IV Literature as History Introduction to Part IV Markku LEHTIMAEKI: History as a Crazy House: Norman Mailer, Hayden White, and the Representation of the Modernist Event Olabode IBIRONKE: Monumental Time in Caribbean Literature Lara OKIHIRO: Divergence and Confluence: Mapping the Streams of Hiroshima Notes on Contributors.
• (source: Nielsen Book Data)

In the last decades, there has been an intense debate on the relationship between literature and historiography, often linked to the debate between "empiricists" and "postmodernists". The aim of this collective work is to address this debate, and to search for new ways of thinking and encountering the past. The key note for the book comes from Hayden White, one of the leading academic figures, whose role in launching the contemporary history/literature debate has been crucial. It is followed by three critical readings of his work, all suggesting new ways to apply or challenge his views. In other chapters of the book, history / literature question is then addressed from three points of view: narrativity, history as literature, and literature as history. Tropes for the Past is an ideal introduction to the literature/historiography debate and Hayden White's role in it. It will be of use for all students and scholars in the philosophy of history and in historically oriented literary, cultural, and social studies.
(source: Nielsen Book Data)

• Introduction : prefatory thoughts on two or more cultures
• What the modernists knew about the history of science from Pascal to Heisenberg
• Robert Musil and the dilemma of modernist epistemology
• Proust, Poincaré, and contingency
• Kafka's search for laws
• James Joyce and the laws of everything
• Modernist thought experiments after Joyce
• Conclusion : science and postmodernity.

In Fiction Refracts Science, Allen Thiher demonstrates that major modernists were not only concerned with the sciences, but they also were influenced by them. He argues that there are direct relations between science and the formal shape of fiction developed by some of the most important modernists. Especially relevant for his arguments are modern cosmology and quantum mechanics, as well as examples from mathematics, biology, and medicine. Thiher begins his study by examining the inevitable question about the two cultures - scientific and humanistic - that is often invoked in discussions of their relationship. He outlines the essential context for understanding how science was perceived by modernist novelists. This background includes Pascalian and Newtonian cosmology, Darwinism, and the questions of epistemology ushered in by relativity theory and quantum mechanics. He then devotes a chapter each to Musil, Proust, Kafka, and Joyce in which he focuses on epistemology and on ideas about law in science and literature. Thiher goes on to describe the subsequent development of modernist fiction. He proposes that, after Joyce, thought experiments dominated the relations between science and later modernist fiction, as exemplified by Woolf, Faulkner, and Borges. In conclusion Thiher addresses the ongoing development of these experiments in postmodern fiction and discusses the fortunes of positivism in postmodern fiction. Written in a clear and accessible style, Fiction Refracts Science will be of interest to specialists in literary modernism, science studies, and the history of science, as well as to scientists themselves.
(source: Nielsen Book Data)

• Part I : Lowbrow: positions and oppositions; Facts and popular fictions. Towards nobrow aesthetics. Genres and paradoxes
• Part II : Nowbrow: varieties of artertainment; Karel Čapek and the politics of memory. Raymond Chandler's aesthetics of irony. Stanislaw Lem and the art of science.

Swirski begins with a series of groundbreaking questions about the nature of popular fiction, vindicating it as an artform that expresses and reflects the aesthetic and social values of its readers. He follows his insightful introduction to the socio-aesthetics of genre literature with a synthesis of the century long debate on the merits of popular fiction and a study of genre informed by analytic aesthetics and game theory. Swirski then turns to three "nobrow" novels that have been largely ignored by critics. Examining the aesthetics of "artertainment" in Karel Capek's War with the Newts, Raymond Chandler's Playback, and Stanislaw Lem's Chain of Chance, crossover tours de force, From Lowbrow to Nobrow throws new light on the hazards and rewards of nobrow traffic between popular forms and highbrow aesthetics.
(source: Nielsen Book Data)

• 1. About the Holocaust Novel
• 2. Survivors: "If It Is a Novel, It Is Not About Majdanek..."
• 3. The Jewish American Post-Holocaust Novel: Imagining the Unimaginable
• 4. Holocaust Fictions, or Fictional Holocausts
• 5. The "Second Generation": The Vicarious Witness
• 6. Postmodernist "Holocausts".
• (source: Nielsen Book Data)

The first comprehensive study of Holocaust literature as a major postwar literary genre, The Holocaust Novel provides an ideal student guide to the powerful and moving works written in response to this historical tragedy. This student-friendly volume answers a dire need for readers to understand a genre in which boundaries and often blurred between history, fiction, autobiography, and memoir. Other essential features for students here include an annotated bibliography, chronology, and further reading list. Major texts discussed include such widely taught works as Night, Maus, The Shawl, Schindler's List, Sophie's Choice, White Noise, and Time's Arrow.
(source: Nielsen Book Data)

• Flaubert--the demise of the spectator
• Flaubert--urban poetics
• Dickens--the realism of metaphor
• Dickens--intimations of apocalypse
• Bely--phantasmatic city
• Woolf--urban pastoral
• Joyce--metropolitan shuffle
• Kafka--suspicion and the city.

In Imagined Cities, Robert Alter traces the arc of literary development triggered by the runaway growth of urban centres from the early nineteenth century through the first two decades of the twentieth. As new technologies and arrangements of public and private space changed the ways people experienced time and space, the urban panorama became less coherent - a metropolis defying traditional representation and definition, a vast jumble of shifting fragments and glimpses - and writers were compelled to create new methods for conveying the experience of the city. In a series of subtle and convincing interpretations of novels by Flaubert, Dickens, Bely, Woolf, Joyce, and Kafka, Alter reveals the ways the city entered the literary imagination. He shows how writers of diverse imaginative temperaments developed innovative techniques to represent shifts in modern consciousness. Writers sought more than a journalistic representation of city living, he argues, and to convey meaningfully the reality of the metropolis, the city had to be recreated or reimagined. His book probes the literary response to changing realities of the period and contributes significantly to our understanding of the history of the Western imagination. Robert Alter is the Class of 1937 Professor of Hebrew and Comparative Literature at the University of California, Berkeley. He is the author of Canon and Creativity: Modern Writing and the Authority of Scripture, published by Yale University Press.
(source: Nielsen Book Data)

• Pierre Janet : the phobia of everyday life
• Flaubert : the revenge of art on life
• The cult of the unreal : Nodier and romantic monomania
• Between Kant and Hegel : Baudelaire's dialogue with obsession
• Middlemarch : abstraction and empathy
• Musings on hypochondria : Thomas Mann's magic thermometer
• Elias Canetti's Auto-da-fé : the scholarly malady
• The cure in the disease : Nina Bouraoui's melancholic imperative
• Voyeuristic monomania : Sophie Calle's rituals.

"This book is about the obsessive strategies people use to keep the arbitrary out of their lives; it is about the fanaticism and intolerance linked to their ideas of perfection and permanence. . . . Those readers who have brushed against the dangers of the idee fixe, who have come close to surrendering to something or someone diabolically seductive or coercive, will recognize in these characters their own encounter with a dangerously systematized world." From the introduction. Monomania explores the cultural prominence of the idee fixe in Western Europe during the nineteenth and twentieth centuries. Marina van Zuylen revives the term monomania to explore the therapeutic attributes of obsession. She introduces us to artists and collectors, voyeurs and scholars, hypochondriacs and melancholics, whose lives are run by debilitating compulsions that may become powerful weapons against the tyranny of everyday life. In van Zuylen's view, there is a productive tension between disabling fixations and their curative powers; she argues that the idee fixe has acted as a corrective for the multiple disorders of modernity. The authors she studies Charles Baudelaire, Sophie Calle, Elias Canetti, George Eliot, Gustave Flaubert, and Thomas Mann among them embody or set in motion different manifestations of this monomaniacal imperative. Their protagonists or alter egos live more intensely, more meaningfully, because of the compulsive pressures they set up for themselves. Monomania shows that transforming life into art, or at least into the artful, drives out the anxiety of the void and puts in its place something so orderly and meaningful that it can take on the aura of a religion.".
(source: Nielsen Book Data)

• Machine generated contents note: 1 Communication 11 --2 Genre 50 --3 Coming to terms with experience through language 84 --4 The narrative of lived reality 135 --5 Text and meaning: from experience to report 197 --6 Summary 227 --Epilogue: the Holocaust seen through the eyes of
• children 230.

A literary study of memoirs describing at first hand the horrors of German concentration camps.
(source: Nielsen Book Data)

• Leaping: Kierkegaard's Fear and trembling.
• pt.
• 1. Knowings: "Sapere aude!"
• the West dares to know. Genealogy of realism: an enlightenment narrative in five stages ; Anatomy of realism: coming to know, from Defoe to Dostoevsky.
• pt.
• 2. Unknowing: the work of modernist fiction. Plotting modernism: Freud ; Uncanny space: Flaubert to Beckett ; Unbound time: Proust, Kafka, Faulkner ; Subject and/as other: Kafka, Proust, Faulkner.
• pt.
• 3. Beyond knowing: postmodern and postcolonial flights from gravity. Adventures in hyperspace ; Urban nightmare and city dreams: Rilke and Calvino ; Passage and passing: Forster and Rushdie ; Arrest and release: Faulkner, García Márquez, Morrison.
• Conclusion: Acknowledging
• modernism's weak messianic power.

Philip Weinstein explores the modernist commitment to "unknowing" by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of "coming to know" the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices postmodern and postcolonial that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison.".
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• Book Cover; Title; Contents; Acknowledgements; Introduction; Impostures of French theory; Enlightenment/poststructuralism; After knowledge: Lyotard and the postmodern condition; After ethics: Levinas without stories; After hope: Althusser on reading and self-reading; After identity: Kristeva's life stories; Spectres of theory; Notes; Bibliography; Index.

In the last decades of the twentieth century, French poststructuralist 'theory' transformed the humanities; it also met with resistance and today we frequently hear that theory is 'dead'. In this brilliantly argued volume, Colin Davis: *reconsiders key arguments for and against theory, identifying significant misreadings *reassesses the contribution of poststructuralist thought to the critical issues of knowledge, ethics, hope and identity *sheds new light on the work of Jean-Francois Lyotard, Emmanuel Levinas, Louis Althusser and Julia Kristeva in a stunning series of readings *offers a fresh perspective on recent debates around the death of theory. In closing he argues that theory may change, but it will not go away. After poststructuralism, then, comes the afterlife of poststructuralism. Wonderfully accessible, this is an account of the past and present fortunes of theory, suitable for anyone researching, teaching, or studying in the field. And yet it is much more than this. Colin Davis provides a way forward for the humanities - a way forward in which theory will play a crucial part.
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• Crisis in the humanities? Reconfiguring literary study for the twenty-first century
• Cunning passages and contrived corridors: rereading Eliot's "Gerontion"
• The search for "prime words": Pound, Duchamp, and the nominalist ethos
• "But isn't the same at least the same?" Wittgenstein on translation
• "Logocinéma of the frontiersman": Eugene Jolas's multilingual poetics and its legacies
• "The silence that is not silence": acoustic art in Samuel Beckett's radio plays
• Language poetry and the lyric subject: Ron Silliman's Albany, Susan Howe's Buffalo
• After language poetry: innovation and its theoretical discontents
• The invention of "concrete prose": Haroldo de Campos's Galaxias and after
• Songs of the earth: Ronald Johnson's verbivocovisuals
• The Oulipo factor: the procedural poetics of Christian Bök and Caroline Bergvall
• Filling the space with trace: Tom Raworth's "Letters from Yaddo"
• Teaching the "new" poetries: the case of Rae Armantrout
• Writing poetry/writing about poetry: some problems of affiliation.

Marjorie Perloff is one of the foremost critics of contemporary American poetry writing today. Regarded as highly accessible, her works are credited by many with creating and sustaining new critical interest not only in the work of major modernist poets such as Yeats, Pound, Eliot, and Williams but also in the postwar tradition of American poetic innovation that ranges from the Black Mountain poets, through the New York School and concrete poetry, to the Language Poets of the 1980s and '90s. In Differentials, Perloff explores and defends her belief in the power of close reading, a strategy often maligned as reactionary in today's critical climate but which, when construed "differentially, " is vital, she believes, to any true understanding of a literary or poetic work, irrespective of how traditional or experimental it is. Perloff also examines key issues in modernism, from Eliot's "conservative" poetics and Pound's nominalism to translation theory (Wirtgenstein, Eugene Joals, Haroldo de Campos), and the contemporary avant grade, as represented by writers like Susan Howe, Tom Raworth, Rae Armantrout, Ron Silliman, Ronald Johnson, Caroline Bergvall, and Kenneth Goldsmith. Ultimately, Perloff's most important offerings in Differentials are her remarkably original reflections on the aesthetic process: on how poetry works, and what it means, in and for our time.
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• The Holocaust, French poststructuralism, the American literary academy, and Jewish identity poetics / Evan Carton
• Michel Foucault and the specter of war / Karen Raber
• Historicizing Paul de Man's master trope prosopopeia : Belgium's trauma of 1940, the Nazi Volkskorper, and versions of the allegorical body politic / James J. Paxson
• "Nostalgeria" and "Structure, sign, play in the discourse of the human sciences" / Lee Morrissey
• Jean Baudrillard and May '68 : an acoustic archaeology / Andrea Loselle
• Stephen Greenblatt's "X"-files : the rhetoric of containment and invasive disease in "Invisible bullets" and "The sources of Soviet conduct" / Jonathan Gil Harris
• New historicizing the new historicism; or, Did Stephen Greenblatt watch the evening news in early 1968? / Ivo Kamps
• The end of culture / Loren Glass
• Literature, incorporated: Harold Bloom, theory, and the canon / Marc Redfield
• The sixties, the new Left, and the emergence of cultural studies in the United States / David R. Shumway
• The postcolonial godfather / H. Aram Veeser
• The spectrality of the sixties / Benjamin Bertram
• Afterword : Historicism and its limits / Morris Dickstein.

• The spell of far Arabia: James Elroy Flecker's Islamic Near East
• The ends of the earth: Rudyard Kipling's Afghanistan
• The exotic transgressions of 'Laurence Hope'
• Everybody's anima: Sarojini Naidu as nightingale and nationalist
• The Tagore era
• The childhood that never was: Rupert Brooke's primitive paradise
• The infant Gargantua on the wet, black bough: Ezra Pound's Chinese object relations
• The red man in the drawing room: T.S. Eliot and the nativists
• The last nostalgia: Wallace Stevens in the shadow of the other
• Forgotten jungle songs: ambivalent primitivisms of the Harlem Renaissance.

In The Idea of a Colony, Edward Marx provides a comprehensive approach to the question of cross-culturalism in modern poetry. He situates the work of canonical British and American modernist poets - Eliot, Pound, Stevens, Brooke, Kipling, and Flecker - in dialogue with the work of non-Western, colonial, and minority poets - Tagore, Naidu, Violet Nicolson - and brings into the discussion the poets of the Harlem Renaissance. Drawing on psychological and cultural theory, Marx argues that primitivism and exoticism were the main forms of cross-culturalism in the modern period, and that these forms were organized around repression of the unconscious and irrational. To the psychological scene of the primitive/exotic poem and its reception, which is explored through substantial archival research, Marx brings an array of approaches including the theories of Freud, Jung, Lacan, Said, Foucault, Bhabha, Fanon, and others. The result is a series of powerful new readings of canonical modernists and a welcome expansion of the field of modern poetry into the age of multiculturalism and postcoloniality.
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• Acknowledgments Introduction: The New Men of 1998
• 1. Alibis of Essence and Enemies Within: At the Well of Obscenity
• 2. Passionate Fictions: Radclyffe Hall's The Well of Loneliness
• 3. Impressions of the Man: Sacred Countries and the Stone Butch Blues
• 4. Boys Do Cry: Hilary Swank and the Politics of a Pronoun
• 5. Postscript: Notes Toward a Radical (Re)Thinking of the Politics of Gender Notes References Index.
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Conventional ideas about gender and sexuality dictate that people born with male bodies naturally possess both a man's identity and a man's right to authority. Recent scholarship in the field of gender studies, however, exposes the complex political technologies that construct gender as a supposedly unchanging biological essence with self-evident links to physicality, identity, and power. In Masculinities without Men? Jean Bobby Noble explores how the construction of gender was thrown into crisis during the twentieth century, resulting in a permanent rupture in the sex/gender system, and how masculinity became an unstable category, altered across time, region, social class, and ethnicity. This groundbreaking study maps historical similarities in fictional, cultural, and representational practices between the periods of modernism and postmodernism. Noble examines nineteenth-century sexology, drama, and trial transcripts, and late twentieth-century counter-cultural fiction, popular film and documentaries, and theoretical texts. Among the works analyzed closely are texts that have been the focus of lesbian, queer, and feminist theory: Radclyffe Hall's The Well of Loneliness, Leslie Feinberg's Stone Butch Blues, and the film Boys Don't Cry. These, as Noble illustrates, make use of similar types of narratives, structures, and thematic techniques to articulate female masculinity. Also included is an exploration of Rose Tremain's Sacred Country, which has never before been studied within this context. Through a critical examination of these texts, Noble demonstrates that trans-gendered and trans-sexual masculinity began to emerge as a unique category in late twentieth-century fiction, distinct from lesbian or female masculinity. Of interest to scholars and students with an interest in sexuality and gender studies, Masculinities without Men? also makes a vital contribution to literary criticism, as well as to cultural and film studies.
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• Digging (up) the scene: an introduction
• Setting the scene: a look at the fifties
• I: Emerging venues, emerging playwrights, 1960-66
• Caffe Cino: the birth of a movement
• Judson poets' theater: verse plays and vaudeville skits
• La Mama ETC: hurrah for the playwright
• Theatre genesis: urban prophecy
• In one act: on the aesthetics of off-off-Broadway playwriting
• II: Present collaborations, 1963-68
• The Judson "musical": sublimely ridiculous?
• The open theatre: transformations
• La Mama troupe: the kernel of craziness
• The play-house of the ridiculous: beyond absurdity
• Other kinds of cruelty: ritual, participation, and the plague
• III: Changing times, 1966-73
• Going overground: changing profiles in the later 1960s
• Death and disaster: leaving the Caffe Cino
• The absence of peace: changing politics, changing communities
• Going solo: Auteurs, Poseurs, and La Mama
• Signals through the flames: the afterlife of a movement.

"Scrupulously researched, critically acute, and written with care, Playing Underground will become a classic account of an era of hard-won free expression." -William Coco "At last---a book documenting the beginnings of Off-Off Broadway theater. Playing Underground is an insightful, illuminating, and honest appraisal of this important period in American theater." -Rosalyn Drexler, author of Art Does (Not!) Exist and Occupational Hazard "An epic movie of an epic movement, Playing Underground is a book the world has waited for without knowing it. How precisely it captures the evolution of our revolution! I am amazed by the book's scope and scale, and I bless its author especially for giving two greats, Paul Foster and H. M. Koutoukas, their proper, polar places, and for memorializing such unjustly forgotten masterpieces as Irene Fornes's Molly's Dream and Jeff Weiss's A Funny Walk Home. Stephen Bottoms's vivid evocation of the grand adventure of Off-Off Broadway has woken and broken my heart. It is difficult to believe that he was not there alongside me to breathe the caffeine-nicotine-alkaloid-steeped air." -Robert Patrick, author of Kennedy's Children and Temple Slave Few books address the legendary age of 1960s off-off Broadway theater. Fortunately, Stephen Bottoms fills that gap with Playing Underground---the first comprehensive history of the roots of off-off Broadway. This is a theater whose legacy is still felt today: it was the launching pad for many leading contemporary theater artists, including Sam Shepard, Maria Irene Fornes, and others, and it was a pivotal influence on improv comedy and shows like Saturday Night Live. Off-off Broadway groups such as the Living Theatre, La Mama, and Caffe Cino captured the spirit of nontraditional theater with their edgy, unscripted, boundary-crossing subjects. Yet, as Bottoms discovers, there is no one set of truths about off-off Broadway to uncover; the entire scene was always more a matter of competing perceptions than a singular, concrete reality. No other author has managed to illuminate this shifting tableau as Bottoms does. Through interviews with dozens of the era's leading playwrights, performers, directors, and critics, he unearths a countercultural theater movement that was both influential and transforming-yet ephemeral and quintessentially of its moment. Playing Underground will be a definitive work on the subject, offering a complete picture of an important but little-studied period in American theater.
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• Prelude
• Ex Nihilo: The Classics, Wars, and Revolutions
• Tilting at Da Vinci: Kurbas's 1924 Macbeth
• 'Authentic' Shakespeare: Saksahansky's Othello
• Toward Socialist Realism: Hnat Yura's A Midsummer Night's Dream
• Coda: The 'Tractor of the Revolution' and 'Vanya Shakespeare'.

Les Kurbas - director, actor, playwright, filmmaker, and translator - was the first artist to introduce Shakespeare to the Ukrainian stage. Creating the foundations of Soviet Ukrainian theatre and cinema, he was also responsible for its avant-garde direction. Shakespeare in the Undiscovered Bourn is the first book-length study in English of Kurbas's modernist productions of Shakespeare and the first book on Soviet Shakespeare productions in Ukraine in any language. Situating Shakespeare within the ideological and cultural debates and conflicts of the early Soviet period, Irena Makaryk traces the trajectory of Shakespeare's and Kurbas's fortunes while also investigating the challenges that modernism posed to early Soviet ideology. Ukraine's cultural history - still an undiscovered bourn - has frequently been submerged within a homogenized Soviet experience. The fall of the Soviet Union and the consequent opening up of many hitherto inaccessible archives has allowed a new probing of the master narratives created during that regime. Invoking contemporary debates about the cultural uses of Shakespeare (especially issues of canon, classic, and authority), Shakespeare in the Undiscovered Bourn examines the complexities of the Soviet encounter with Shakespeare. It thus makes an important contribution to the studies of theatre, cross-culturalism, modernism, and postcolonialism.
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Aware of the act of writing as a temporal process, many modernist authors preserved numerous manuscripts of their works, which themselves thematized time. Textual Awareness analyzes the writing processes in James Joyce's Finnegans Wake, Marcel Proust's la recherche du temps perdu, and Thomas Mann's Doktor Faustus and relates these to Anglo-American, French, and German theories of text. By relating theory to practice, this comparative study reveals the links between literary and textual criticism. A key issue in both textual criticism and the so-called crisis of the novel is the tension between the finished and the unfinished. After a theoretical examination of the relationship between genetic and textual criticism, Dirk Van Hulle uses the three case studies to show how?at each stage in the writing process?the text still had the potential of becoming something entirely different; how and why these geneses proceeded the way they did; how Joyce, Proust, and Mann allowed contingencies to shape their work; how these authors recycled the words of their critics in order to inoculate their works against them; how they shaped an intertextual dimension through the processing of source texts and reading notes; and how text continually generated more text. Van Hulle's exploration of process sheds new light on the remarkable fact that so many modernist authors protected their manuscripts, implying both the authors' urge to grasp everything and their awareness of the dangers of their encyclopedic projects. Textual Awareness offers new insights into the artificiality of the artifact?the novel?that are relevant to the study of literary modernism in general and the study of James Joyce, Marcel Proust, and Thomas Mann in particular. Dirk Van Hulle is Assistant Professor of English and German Literature, University of Antwerp.
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• Captive audience: an introduction / Thomas Fahy
• PART I
• Confessional voice: Medea's brutal imagination / Rena Fraden
• Emotional contraband: prison as metaphor and meaning in U.S. Latina drama / Tiffany Ana Lopez
• Seeing ethnicity: the impact of race and class on the critical reception of Miguel Piñero's Short eyes / Fiona Mills
• PART II
• On prisons in the United States: extract from a speech delivered to the confederation of analytical psychologists, London, 25 June 1999 / Harold Pinter
• Harold Pinter's prison house: the screenplay of Kafka's The trial / Ann C. Hall
• Harold Pinter's The handmaid's tale: freedom, prison, and a hijacked script / Christopher C. Hudgins
• "World of bodies": performing flesh in Marat/Sade / Pamela Cooper
• Disposal: William Inge's abject drama / Robert F. Gross
• "In dark corners": masculinity and art in Tennessee Williams's Not about nightingales / Thomas Fahy
• Physical prisons: Naomi Wallace's drama of captivity / Claudia Barnett
• No exit and Waiting for Godot: performances in contrast / Lois Gordon.

The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre. Beginning with an essay by Harold Pinter, the original contributions discuss work including Harold Pinter's screenplays for The Handmaid's Tale and The Trial, Theatrical Prison Projects and Marat/Sade. Kimball King, Thomas Fahy, Rena Fraden, Tiffany Ana Lopez, Fiona Mills, Harold Pinter, Ann C. Hall, Christopher C. Hudgins, Pamela Cooper, Robert F. Gross, Claudia Barnett, Lois Gordon.
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• 1. Difficulty as Fashion
• 2. Inherence
• 3. Professional Romanticism Defining Difficulty
• 4. Difficulty, Vigor and Pleasure
• 5. Simplicity, Purity and the Modern Canon Conclusion: Modern Difficulty's Inheritance.
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First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
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Theatre, like other subjects in the humanities, has recently undergone quintessential changes in theory, approach, and research. Modern Drama - a collection of twelve essays from leading theatre and drama scholars - investigates the contemporary meanings and the cultural and political resonances of the terms inherent in the concepts of 'modern' and 'drama, ' delving into a range of theoretical questions on the history of modernism, modernity, postmodernism, and postmodernity as they have intersected with the shifting histories of drama, theatre, and performance. Using incisive analyses of both modern and postmodern plays, the contributors examine varied topics such as the analysis of periodicity; the articulation of social, political, and cultural production in theatre; the re-evaluation of texts, performances, and canons; and demonstrations of how interdisciplinarity inflects theatre and its practice. Including work by Sue-Ellen Case, Elin Diamond, Harry J. Elam Jr, Alan Filewod, Erika Fischer-Lichte, Stanton B. Garner Jr, Shannon Jackson, Loren Kruger, Josephine Lee, David Savran, Michael Sidnell, and Ann Wilson, the collection highlights the importance of continuing to investigate not only critical texts but also the terms of the debate themselves. Incorporating both drama history and modern studies, this compilation will be an invaluable work to all scholars of theatre and drama, and as well as those students of the humanities and modernism.
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• * List of Illustrations * Prologue *1. Variations on a Preface
• * Translating the Word Negre * The Frame of Blackness * Race and the Modern Anthology * Border Work * A Blues Note
• *2. On Reciprocity: Rene Maran and Alain Locke
• *Veritable Roman Negre * A "Black Logic" of the Preface * Paris, Heart of the Negro Race * Encounter on the Rhine * The Practice of Diaspora
• *3. Feminism and L'Internationalisme Noir: Paulette Nardal
• * Gender in Black Paris * Feminism and La Depeche Africaine * Salons and Cercles d'Amis * Black Magic * Begin the Beguine
• *4. Vagabond Internationalism: Claude McKay's Banjo
• *Legitime Defense: Translating Banjo * Vagabond Internationalism * Diaspora and the "Passable Word" * The Boys in the Band * Black Radicalism and the Politics of Form
• *5. Inventing the Black International: George Padmore and Tiemoko Garan Kouyate
• * The Negro Worker * Black Collaboration, Black Deviation * Black Marxism in Translation * Toward a Francophone Internationalism * International African
• * Coda: The Last Anthology * Notes * Acknowledgments * Index.
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A pathbreaking work of scholarship that will reshape our understanding of the Harlem Renaissance, The Practice of Diaspora revisits black transnational culture in the 1920s and 1930s, paying particular attention to links between intellectuals in New York and their Francophone counterparts in Paris. Brent Edwards suggests that diaspora is less a historical condition than a set of practices: the claims, correspondences, and collaborations through which black intellectuals pursue a variety of international alliances. Edwards elucidates the workings of diaspora by tracking the wealth of black transnational print culture between the world wars, exploring the connections and exchanges among New York-based publications (such as Opportunity, The Negro World, and The Crisis) and newspapers in Paris (such as Les Continents, La Voix des Negres, and L'Etudiant noir). In reading a remarkably diverse archive--the works of writers and editors from Langston Hughes, Rene Maran, and Claude McKay to Paulette Nardal, Alain Locke, W. E. B. Du Bois, George Padmore, and Tiemoko Garan Kouyate--The Practice of Diaspora takes account of the highly divergent ways of imagining race beyond the barriers of nation and language. In doing so, it reveals the importance of translation, arguing that the politics of diaspora are legible above all in efforts at negotiating difference among populations of African descent throughout the world.
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This title revisits black trans-national culture in the 1920s and 1930s, paying particular to links between intellectuals in New York and their Francophone counterparts in Paris. Brent Edwards suggest that diaspora is less a historical condition than a set of practices: the claims, correspondences and collaborations through which black intellectuals pursue a variety of international alliances. Edwards elucidates the workings of diaspora by tracking the wealth of black trans-national print culture between the world wards, exploring the connections and exchanges among New York-based publications (such as "Opportunity", "The Negro World" and "The Crisis") and newspapers in Paris (such as "Les Continents, "La Voix des Negres" and "L'Etudiant Noir"). In reading a diverse archive - the works of writers and editors from Langston Hughes, Rene Maran, and Claude McKay to Paulette Nardal, Alain Locke, W.E.B. Du Bois, George Padmore and Tiemoko Garan Koyate - "The Practice of Diaspora" takes account of the highly divergent ways of imagining race beyond the barriers of nation and language. In doing so, it reveals the importance of translation, arguing that the politics of diaspora are legible above all in efforts at negotiating difference among populations of African descent throughout the world.
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• Ch. 1 Theory Retrospective
• Ch. 2 Theory Favorites
• Ch. 3 Theory Fashion
• Ch. 4 Framing Theory
• Ch. 5 Inside The Norton Anthology of Theory and Criticism
• Ch. 6 Consolidating Theory: Interview
• Ch. 7 Theory, Literature, and Literary Studies Today: Interview
• Ch. 8 Criticizing Globalization: The Case of Pierre Bourdieu
• Ch. 9 The New Economic Criticisms: The Rise of the Lilliputians
• Ch. 10 Postmodern Fashion
• Ch. 11 Blues Southwestern Style
• Ch. 12 Postmodern Interdisciplinarity.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
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• Contents: The Invention of Theatricality Richard Wagner The Modernist Closet DramaStephane Mallarme James Joyce Gertrude Stein The Diegetic TheaterWilliam Butler Yeats Bertolt Brecht Samuel Beckett.
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Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama-a theatrical piece intended to be read rather than staged-whose long-overlooked significance Puchner traces from the theatrical texts of Mallarme and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Noh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scene. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
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• What is justice? The answers of utopia, tragedy, and dystopia
• Nineteenth-century precursors of the dystopian vision
• The dictator behind the mask : Zamiatin's We, Huxley's Brave new world, and Orwell's Ninteenth eighty-four
• Dictatorship without a mask : Bradbury's Fahrenheit 451, Vonnegut's Player piano, and Atwood's The handmaid's tale
• The writer on trial: socialist realism and the exile of speculative fiction
• The dystopia of revolutionary justice : Serge's Conquered city, Zazubrin's "The chip, " and Rodionov's Chocolate
• The legalization of terror: Platonov's The foundation pit, Ribakov's Children of the Arbat, and Koestler's Darkness at noon
• Terror in war, terror in peace: Grossman's Life and fate, Tertz Sinyavski's The trial begins, and Daniel's This is Moscow speaking
• Collective paranoia: the persecutor and the persecuted: Andzrejewski, Déry, Fuks, Hlasko, Örkény, Vaculik, and Mrozek
• Kafka's ghost: The trial as theatre: Klima's The castle, Karvas's The big wig, and Havel''s Memorandum
• From terror to entropy : the downward spiral: Konwicki's A minor apocalypse, Déry's Mr G.A. in X and Zinoviev's The radiant future
• Speculative fiction returns from exile : Dystopian vision with a sneer: Voinovich's Moscow 2042, Aksyonov's The island of Crimea, Dalos's 1985, and Moldova's Hitler in Hungary
• Dystopia East and West: conclusion.

"Dystopian Fiction East and West suggests that the utopian pursuit of "the best of all possible worlds" is driven less by the search for happiness than by a determined faith in justice. Conversely, the world of dystopian fiction presents us with a society where the ruling elite deliberately subverts justice. In fact, twentieth-century dystopian fiction can be seen as a protest against the totalitarian superstate as the "worst of all possible worlds, " a universe of terror and rigged trials." "Erika Gottlieb explores a selection of about thirty works in the dystopian genre from East and Central Europe between 1920 and 1991 in the USSR and between 1948 and 1989 in Poland, Hungary, and Czechoslovakia. Written about and under totalitarian dictatorship, in these countries dystopian fiction does not take us into a hypothetical future; instead the writer assumes the role of witness protesting against the "worst of all possible worlds" of terror and trial in a world that is but should not be."--Jacket.

• Introduction: Getting Started-- or, Two Thousand Books
• Part 1. Reading
• 1. Writing It Down for James: Some Thoughts on Reading Toward the Millennium
• 2. Books in Flames: A View of Latin American Literature
• 3. The Lost Books
• 4. Hamlet in Haiti: Style in Carpentier's The Kingdom of This World
• 5. Traces of Light: The Paradoxes of Narrative Painting and Pictorial Fiction
• 6. Truth as Fiction: Or, the Tail of the Monstrous Peacock
• 7. The Consolation of Art
• Part 2. Rereading
• 8. You Can Read Wolfe Again
• 9. Stories of Deep Delight
• 10. Of Steinbeck and Salinas
• 11. The Return of James Agee
• 12. Mario Vargas Llosa and Conversation in the Cathedral: The Question of Naturalism
• 13. Where Is She Going? Where Has She Been?: Elizabeth Tallent's "No One's a Mystery" and the Poetry of Female Initiation
• 14. A Wintry Saga
• 15. Bernard and Juliet: Romance and Desire in Malamud's High Art
• 16. Fitzgerald's Christmas Carol, or the Burden of "The Camel's Back"
• 17. A Note on Landscape in All the Pretty Horses
• 18. Rereading Traven
• Part 3. Writing
• 19. Confessions of an Ex-Minimalist
• 20. On the Contemporary
• 21. Of the Making of Books
• 22. Voices: A Conversation.
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When he sold his first short story to "The New Yorker" in 1979, Alan Cheuse was hardly new to the literary world. He had studied at Rutgers under John Ciardi, worked at the Breadloaf Writing Workshops with Robert Frost and Ralph Ellison, written hundreds of reviews for "Kirkus Reviews", and taught alongside John Gardner and Bernard Malamud at Bennington College for nearly a decade. Soon after the "New Yorker" story appeared, Cheuse wrote a freelance magazine piece about a new, publicly funded broadcast network called National Public Radio, and a relationship of reviewer and radio was born. In "Listening to the Page", Alan Cheuse takes a look back at some of the thousands of books he has read, reviewed, and loved, offering retrospective pieces on modern American literary figures such as Hemingway, Thomas Wolfe, Bernard Malamud, and John Steinbeck, as well as contemporary writers like Elizabeth Tallent and Vassily Aksyonov. Other essays explore landscape in "All the Pretty Horses", the career of James Agee, Mario Vargas Llosa and naturalism, and the life and work of Robert Penn Warren.
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• Don DeLillo's Mao II and the Rushdie affair
• Eoin McNamee's Resurrection man
• Mary McCarthy's Cannibals and missionaries
• Doris Lessing's The good terrorist
• J.M. Coetzee's The master of Petersburg
• Friedrich Dürrenmatt's The assignment
• Philip Roth's and Robert Stone's Jerusalem novels
• Volodine's Lisbonne dernière marge
• Epilogue: Conrad and the Unabomber.

Is literature dangerous? By looking at a range of novels about terrorism, this work raises the possibility that the writer's relationship to actual politics may be considerably reduced in the age of television and the Internet. Margaret Scanlan traces the figure of the writer as rival or double of the terrorist from its origins in the romantic conviction of the writer's originality and power through a century of political, social and technological developments that undermine that belief. She argues that serious writers like Friedrich Durrenmatt, Doris Lessing, and Don DeLillo imagine a contemporary writer's encounter with terrorists as a test of the old alliance between writer and revolutionary. After considering the possibility that televised terrorism is replacing the novel, or that writing, as contemporary theory would have it, is itself a form of violence, Scanlan asks whether the revolutionary impulse itself is dying - in politics as much as in literature. Her analyses take the reader on an exploration of the relationship between actual bombs and stories about bombings, from the modern world to its electronic representation, and from the exercise of political power to the fiction writer's power in the world.
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• Contents: Preface-- Acknowledgments--
• 1. Secondary Orality - Talk as Interaction--
• 2. Storytelling - Talk as Sustenance--
• 3. Testimony - Talk as Witnessing--
• 4. Apostrophe - Talk as Performance--
• 5. Interactivity - Talk as Collaboration-- Notes-- Works Cited-- Index.
• (source: Nielsen Book Data)

Everywhere you turn today, someone (or something) is talking to you - the television, the radio, cell phones, your computer. If you think some of the novels and stories you read are talking to you too, you're not alone, and you're not mistaken. In this innovative, multidisciplinary work, Irene Kacandes reads contemporary fiction as a form of conversation and as part of the larger conversation that is modern culture. Within a framework of talk as interaction, Kacandes considers texts that can be classified as 'statements' - texts that wholly or in part ask for their readers to react to them in certain ways. The works she addresses - from writers as varied as Harriet O. Wilson, Margaret Atwood, William Faulkner, Virginia Woolf, Graham Swift, Gunter Grass, John Barth, Julio Cortazar, and Italo Calvino - conduct their interactions in certain modes to accomplish different sorts of cultural work: storytelling, testimony, apostrophe, and interactivity. By focusing on texts within these groupings, Kacandes is able to relate the different modes of talk fiction to extraliterary cultural developments in our oral age - and to show how such interactions, however contrary to the dominant twentieth-century view of literature as art for art's sake, help to keep literature alive and speaking to us. Irene Kacandes is an assistant professor of German studies at Dartmouth College.
(source: Nielsen Book Data)

• En Garde! The theatrical avant-garde in historical, intellectual, and cultural context / Bert Cardullo
• Interior (1891) / Maurice Maeterlinck
• "The Modern Drama" (1904) / Maurice Maeterlinck
• The Wayfarer (1910) / Valery Briusov
• "Against Naturalism in the Theater" (1902) / Valery Briusov
• King Ubu (1896) / Alfred Jarry
• "Theater Questions" (1897) / Alfred Jarry
• The Ghost Sonata (1907) / August Strindberg
• from Zones of the Spirit (1907) / August Strindberg
• The Yellow Sound (1909) / Wassliy Kandinsky.

• "On Stage Composition" (1912) / Wassily Kandinsky
• Genius and Culture (1915) / Umberto Boccioni
• Detonation (1915) / Francesco Cangiullo
• Feet (1915) / Filippo Marinetti
• "The Futurist Synthetic Theater, 1915: (1915) / Filippo Marinetti, Emilio Settimelli, and Bruno Corra
• The Beggar (1912) / Reinhard Sorge
• "Two Superdramas: (1918) / Yvan Goll
• The Gas Heart (1920) / Tristan Tzara
• Dada Manifesto, 1918 (1918) / Tristan Tzara
• The Cuttlefish (1922) / Stanislaw Ignacy Witkiewicz.

• "On a New Type of Play: (1920) / Stanislaw Ignacy Witkiewicz
• The Mysteries of Love (1927) / Roger Vitrac
• First Surrealist Manifesto (1924) / Andre Breton
• The Spurt of Blood (1925) / Antonin Artaud
• "No More Masterpieces" (1938) / Antonin Artaud
• Christmas at the Ivanovs' (1938) / Aleksandr Vvedensky
• "The Oberiu Manifesto" (1928) / Daniil Kharms, Aleksandr Vvedensky, and others
• Doctor Faustus Lights the Lights (1938) / Gertrude Stein
• "Plays" (1934) / Gertrude Stein
• The Invasion (1949) / Arthur Adamov
• "The Theater of the Absurd" (1961) / Martin Esslin.

This critical anthology of avant-garde drama offers comprehensive coverage of that distinctively twentieth-century tradition. It includes the full texts of sixteen important plays, each preceded by a historical-critical introduction and followed by an essay, often written by the playwright, that elaborates on the dramatic and aesthetic issues raised by the play. Cardullo and Knopf, in making plays and documents of the avant-garde available in one collection for the first time, underscore the place and importance of the movement. In a provocative general introduction to the book, Bert Cardullo traces the history of the avant-garde tradition and argues for a revisionist history of modern drama that would acknowledge the innovative contributions of the avant-garde. The anthology, which presents examples of French and Russian Symbolism, Italian Futurism, German Expressionism, and Dada-Surrealism, as well as work by such seminal figures as Jarry, Strindberg, Artaud, and Kandinsky, illuminates the astonishing daring of these writers from many Western countries and diverse theatrical movements.
(source: Nielsen Book Data)

• pt.
• 1.
• pt. 2.

Some of the most innovative writers of contemporary literature are writing in diaspora in their second or third language. Here Azade Seyhan describes the domain of transnational poetics they inhabit. She begins by examining the works of selected bilingual and bicultural writers of the United States (including Oscar Hijuelos, Maxine Hong Kingston, and Eva Hoffman) and Germany (Libuse Mon kov , Rafik Schami, and E. S. zdamar, among others), developing a new framework for understanding the relationship between displacement, memory, and language. Considering themes of loss, witness, translation, identity, and exclusion, Seyhan interprets diasporic literatures as condensed archives of cultural and linguistic memory that give integrity and coherence to pasts ruptured by migration. The book next compares works by contemporary Chicana and Turkish-German women writers as innovative and sovereign literary voices within the larger national cultures of the United States and Germany. Seyhan identifies in American multiculturalism critical clues for analyzing new cultural formations in Europe and maintains that Germany's cultural transformation suggests new ways of reading the American literary mosaic. Her approach, however, extends well beyond these two literatures. She creates a critical map of a "third geography, " where a transnational, multilingual literary movement is gathering momentum. Writing Outside the Nation both contributes to and departs from postcolonial studies in that it focuses specifically on transnational writers working outside of their "mother tongue" and compares American and German diasporic literatures within a sophisticated conceptual framework. It illustrates how literature's symbolic economy can reclaim lost personal and national histories, as well as connect disparate and distant cultural traditions.
(source: Nielsen Book Data)

• Critical theory
• Science fiction
• Genre, theory, and phases of canon-formation
• The critical dynamic: science fiction and style
• The critical dynamic: science fiction and the historical novel
• The critical dynamic: science fiction and utopia
• Science fiction and the canon
• Solaris: Stanisław Lem and the structure of cognition
• The dispossessed: Ursula Le Guin and the ambiguities of utopia
• The two of them: Joanna Russ and the violence of gender
• Stars in my pocket like grains of sand: Samuel Delany and the dialectics of difference
• The man in the high castle: Philip K. Dick and the construction of realities
• Coda: critical theory, science fiction, and the postmodern.

Carl Freedman traces the fundamental and mostly unexamined relationships between the discourses of science fiction and critical theory, arguing that science fiction is (or ought to be) a privileged genre for critical theory. He asserts that it is no accident that the upsurge of academic interest in science fiction coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. His readings of novels by five important modern science fiction authors (Stanislaw Lem, Ursula LeGuin, Joanna Russ, Samuel Delany, and Philip K. Dick) illustrate the affinity between science fiction and critical theory, in each case concentrating on a novel that resonates with critical theory concerns.
(source: Nielsen Book Data)

• Acknowledgments
• INTRODUCTION
• SCOTLAND
• INTRODUCTION
• POETRY
• Hugh MacDiarmid
• Robert Garioch
• Sydney Goodsir Smith
• Tom Scott
• NOVEL
• Lewis Grassic Gibbon
• THEATRE
• Robert McLellan
• Donald Campbell
• BRITTANY
• INTRODUCTION
• POETRY
• Roparz Hemon
• Maodez Glanndour
• Anjela Duval
• NOVEL
• Youenn Drezen
• Roparz Hemon
• Per Denez
• THEATRE
• Per Jakez Helias
• OCCITANIA
• INTRODUCTION
• POETRY
• Max-Philippe Delavouët
• René Nelli
• Bernard Manciet
• NOVEL
• Jean Boudou
• Robert Lafont
• Jean-Claude Forêt
• THEATRE.

• Robert Lafont
• POSTMODERN
• Breizh
• Occitania
• Scotland
• CONCLUSION
• Notes
• Scots Glossary
• A
• B
• C
• D
• E
• F
• G
• H
• I
• J
• L
• M
• N
• O
• P
• Q
• R
• S
• T
• U
• V
• W
• Bibliography
• Index
• A
• B
• C
• D
• E
• F
• G
• H
• I
• J
• K
• L
• M
• N
• O
• P
• Q
• R
• S
• T
• U
• V
• W
• Y
• Z.

A quiet renaissance has been unfolding in certain parts of Europe - a renaissance of literature written in minority languages. In this book, William Calin explores the renaissance through an examination of twentieth-century works in Scots, Breton, and Occitan minority languages flourishing inside the borders of the United Kingdom and France. For each of the three bodies of literature Calin considers major authors whose works include novels, poetry and plays, and shows that all three literatures have evolved in a like manner, repudiating their romantic folk heritage and turning instead to modern and postmodern concerns. Drawing on current critical theories in periodization, postcolonialism and cultural studies, Calin raises a range of comparative questions: Is there a common form of narrative prevalent in minority cultures that is neither realism nor metafiction? Is the minority-language theatre limited to plots treating past history and the rural present? What is the relationship between the minority literature and literature in the national language? What kind of history should be written on the literatures of Scotland, Brittany and the South of France, manifest in their several languages? Calin's pioneering study is the first comparative scrutiny of these minority literatures and the first to bring all three together into the mainstream of present-day criticism. His work demonstrates the intrinsic importance in their twentieth-century renewal, as well as their contribution to global culture, in both aesthetic and broadly human terms.
(source: Nielsen Book Data)

• 1. The modern novelist as redeemer of the nation
• 2. The crisis of liberal nationalism
• 3. "His sympathies were in the right place": Conrad and the discourse of national character
• 4. Citizens of the Plain: Proust and the discourse of national will
• 5. "Il vate nazionale": D'Annunzio and the discourse of embodiment.

In Modernism, Nationalism, and the Novel, first published in 2000, Pericles Lewis shows how political debates over the sources and nature of 'national character' prompted radical experiments in narrative form amongst modernist writers. Though critics have accused the modern novel of shunning the external world, Lewis suggests that, far from abandoning nineteenth-century realists' concern with politics, the modernists used this emphasis on individual consciousness to address the distinctively political ways in which the modern nation-state shapes the psyche of its subjects. Tracing this theme through Joyce, Proust and Conrad, amongst others, Lewis claims that modern novelists gave life to a whole generation of narrators who forged new social realities in their own images. Their literary techniques - multiple narrators, transcriptions of consciousness, involuntary memory, and arcane symbolism - focused attention on the shaping of the individual by the nation and on the potential of the individual, in time of crisis, to redeem the nation.
(source: Nielsen Book Data)

• Preface; Introduction The Notions of "Performing History"; Refractions of the Shoah on Israeli Stages Theatre and Survival; The Theatrical Modes of Israeli Shoah Performances; Yehoshua Sobol, "Ghetto"; Dudu Ma'ayan, "Arbeit macht frei vom Toitland Europa"; Hanoch Levin, "The Boy Dreams"; Three European Productions about the French Revolution; Peter Brook, "Marat/Sade"; Ariane Mnouchkine, "1789"; Ingmar Bergman, "Madame de Sade"; Three American Productions of "Danton's Death"; Büchner's Play and Its Beholders; The Production Qualities; The Individualized Crowd; The Execution.

• Theatrical EnergiesTextual Energies; From Textual to Performative Energies; Performance Energies; The Eavesdropper and the Survivor-Witness; Metaphysical Energies; Epilogue; Notes; Bibliography; Index.

Collective identities grow from a sense of the past, and the theatre very forcefully participates in the ongoing representations of and debates about the past, sometimes by contesting them and sometimes by reinforcing them. In his examination of the ways in which the theatre after World War II has presented different aspects of the French Revolution and the Holocaust, Freddie Rokem shows us that by "performing history" actors - as witnesses for the departed witnesses - bring the historical past and the theatrical present together. Rokem analyzes the significance of stage representations of the French Revolution and the Holocaust in different national contexts: the United States and Europe for performances about the French Revolution and Israel for performances about the Holocaust. By pointing out both the great diversity and the common features of these performances, he draws attention to the complex collective efforts and the creativity of playwrights, directors, designers and actors as they connect their theatrical energies to a specific historical past. He also focuses on the ways in which audiences in different cultures have been affected by and even had an influence on the ideological debates embedded in these performances. Rokem looks at plays and performances by Yehoshua Sobol, Dudu Ma'ayan and Hanoch Levin in Israel; Peter Brook, Ariane Mnouchkin and Ingmar Bergman in Europe; and Orson Welles, Herbert Blau and Robert Wilson in the United States. Drawing upon these and upon his own life in Europe, Israel and the United States, Rokem makes us aware of the critical interaction between the failures of history and the efforts to create viable and meaningful works of art.
(source: Nielsen Book Data)

• Machine generated contents note: Introduction: The Serial Killer in Fiction
• 1. Gothic Legacy and Serial Murder
• 2. Psycho Profilers and the Influence of Thomas Harris
• 3. Detectives Versus Serial Killers
• 4. Serial Killers and Deviant American Individualism
• 5. Serial Killer, Myth and Apocalypse in 1990s Cinema.

This is a broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s. The fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt American literature and, particularly, visual media such as cinema and television. The author theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects American cultural anxieties at the start of the 21st century. Citing numerous sources, the author argues that serial killers' recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionaries, whose murders privately and publicly reempower them with a pseudo-divine aura in the contemporary political moment. The fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right. Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalogue approach in this study in favour of an in-depth analysis of the best American work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including: "Red Dragon" and "The Silence of the Lambs", by Thomas Harris; "Manhunter", directed by Michael Mann; "Henry: Portrait of a Serial Killer", directed by John McNaughton "Seven", directed by David Fincher; "Natural Born Killers", directed by Oliver Stone; "Zombie", by Joyce Caol Oates; and "American Psycho", by Bret Easton Ellis.
(source: Nielsen Book Data)

• pt.
• 1. Science fiction and utopia
• Dangerous visions
• Absent paradigms
• Daring to dream
• pt.
• 2. Dystopia
• New maps of hell
• The dystopia turn
• The critical dystopia
• pt.
• 3. Dystopian maneuvers
• Kim Stanley Robinson's other California
• Octavia Butler's parables
• Marge Piercy's tale of hope
• Horizons
• Notes
• Bibliography
• Literary bibliography and filmography
• Index.

Dystopian narrative is a product of the social ferment of the twentieth century. A hundred years of war, famine, disease, state terror, genocide, ecocide, and the depletion of humanity through the buying and selling of everyday life provided fertile ground for this fictive underside of the utopian imagination. From the classical works by E. M. Forster, Yevgeny Zamyatin, Aldous Huxley, George Orwell, and Margaret Atwood, through the new maps of hell in postwar science fiction, and most recently in the dystopian turn of the 1980s and 1990s, this narrative machine has produced challenging cognitive maps of the given historical situation by way of imaginary societies which are even worse than those that lie outside their authors' and readers' doors.In Scraps of the Untainted Sky , Tom Moylan offers a thorough investigation of the history and aesthetics of dystopia. To situate his study, Moylan sets out the methodological paradigm that developed within the interdisciplinary fields of science fiction studies and utopian studies as they grow out of the oppositional political culture of the 1960 and 1970s (the context that produced the project of cultural studies itself). He then presents a thorough account of the textual structure and formal operations of the dystopian text. From there, he focuses on the new science-fictional dystopias that emerged in the context of the economic, political, and cultural convulsions of the 1980s and 1990s, and he examines in detail three of these new "critical dystopias:" Kim Stanley Robinson's The Gold Coast, Octavia Butler's The Parable of the Sower , and Marge Piercy's He, She, and It .With its detailed, documented, and yet accessible presentation, Scraps of the Untainted Sky will be of interest to established scholars as well as students and general readers who are seeking an in-depth introduction to this important area of cultural production.
(source: Nielsen Book Data)

• 1. Talking of Many Things. 2. From Eyes to Ears
• pt. I. Overtalkers. 3. "Digesting" Psychoanalysis: Marie Cardinal's Les Mots pour le dire. 4. "Ritualized Bellyaching": Philip Roth's Portnoy's Complaint. 5. Resisting Psychoanalysis: Italo Svevo's The Confessions of Zeno. 6. Game for Therapy: David Lodge's Therapy
• pt. II. Undertalkers. 7. Amateurish "Heart-to-Hearts": Jennifer Dawson's The Ha-Ha. 8. Ritualized Roles: Penelope Mortimer's The Pumpkin Eater. 9. The Ogre and the Fairy Godmother: Sylvia Plath's The Bell Jar. 10. Petrified Feeling: Robertson Davies's The Manticore
• pt. III. Duets. 11. More than Just Talk: Irvin D. Yalom and Ginny Elkin's Every Day Gets a Little Closer.

While countless memoirs have been written about depression and therapy, no one has examined how the "talking cure" of psychotherapy is presented in novels and other works of literature. Beginning with an overview of the principles of psychotherapy and its growing use as a treatment for mental and emotional disorders, Lilian Furst addresses the patient's view of the value of talk. Patients' portrayals of psychotherapy in literary works range from serious to satirical and from comic to ironic, with some descriptions verging on the grotesque. Furst identifies the overtalkers, undertalkers, and duet voices that shape the individual experiences of psychotherapy. While the voices of the overtalkers overwhelm those of their therapists, undertalkers are reluctant to express or acknowledge their feelings. Particularly revealing are the instances where patient and therapist provide separate but parallel renderings of the same therapy. Just Talk looks at a wide range of questions about psychotherapy. Furst considers the patient's first impressions of the therapist and how the patient is prompted to engage in talk. She looks for signs of self-deception or self-betrayal on the patient's part and asks how the therapist's behavior affects the patient's responses and the ultimate outcome of the therapy. Furst examines such well-known works as Roth's Portnoy's Complaint, Plath's The Bell Jar, and Lodge's Therapy, as well as lesser-known novels, to discuss how patients react to psychotherapy as a cure for mental and emotional disorders. Her analysis of these narratives adds significantly to our understanding of the dynamic relationship between patient and therapist and reveals much about the healing process that is not addressed in technical casebooks.
(source: Nielsen Book Data)

• 1. Theories of the avant-garde--
• 2. Revisions of Burger's theory--
• 3. Re-writing the discursive world: revolution and the expressionist avant-garde--
• 4. Counter-discourses of the avant-garde: Jameson, Bakhtin and the problem of realism--
• 5. Doeblin and the avant-garde poetics of expressionist prose--
• 6. Benn: modernity and the double bind of rationality--
• 7. Bakhtin and double voiced discourse: Doeblin's 'The Murder of a Buttercup' and the double bind--
• 8. The poetics of hysteria: expressionist drama and the melodramatic imagination--
• 9. Kafka's photograph of the imaginary: dialogical interplay between realism and the fantastic (the metamorphosis)--
• 10. Weimar silent film and expressionism: representational instability and oppositional discourse in The Cabinet of Dr Caligari--
• 11. Framing the interpretation: the frame-narrative and the conflict of discourses--
• 12. Towards a poetic of postmodernism: simulation, the sublime and the expressionist avant-garde--
• 13. Lyotard's postmodern sublime and Habermas's 'enlightenment project of modernity': modernism, mass culture and the avant-garde-- Bibliography.
• (source: Nielsen Book Data)

In Modernism, Expressionism and Theories of the Avant Garde, Richard Murphy mobilises theories of the postmodern to challenge our understanding of the avant-garde. He assesses the importance of the avant-garde for contemporary culture and for the debates among theorists of postmodernism such as Jameson, Eagleton, Lyotard and Habermas. Murphy reconsiders the classic formulation of the avant-garde in Lukacs and Bloch, especially their discussion of aesthetic autonomy, and investigates the relationship between art and politics via a discussion of Marcuse, Adorno and Benjamin. Combining close textual readings of a wide range of films as well as works of literature, it draws on a rich array of critical theories, such as those of Bakhtin, Todorov, MacCabe, Belsey and Raymond Williams. This interdisciplinary project will appeal to all those interested in modernist and avant-garde movements of the early twentieth century, and provides a critical rethinking of the present-day controversy regarding postmodernity.
(source: Nielsen Book Data)

• The woman writer in the 1930s: on not being Mrs Giles of Durham City / Maroula Joannou
• The 1930s: memory and forgetting / Janet Montefiore
• Late modernism and the politics of history / Jean Radford
• Women poets and the political voice / Jane Dowson
• Revising the marriage plot in women's fiction of the 1930s / Diana Wallace
• Sylvia Townsend Warner: 'The Centrifugal kick' / Gillian Beer
• Rosamond Lehmann's political philosophy: from a Note in music (1930) to No more music (1939) / Wendy Pollard
• In a class of her own: Elizabeth von Arnim / Alison Hennegan
• The reception of Nancy Cunard's Negro anthology / Tory Young
• Lorca's mantle: the rise of fascism and the work of Storm Jameson / Sylvia Vance
• Naomi Mitchison's historical fiction / Elizabeth Maslen
• Back from the future: Katherine Burdekin and science fiction in the 1930s / Keith Williams
• Three guineas and the photograph: the art of propaganda / Elena Gualtieri
• Hyams place: the Years, the Jews and the British Union of fascists / David Bradshaw
• No longer a view: Virginia Woolf in the 1930s and the 1930s in Virginia Woolf / Linden Peach
• Come in from the cold war: Rebecca West and Storm Jameson in 1930s Europe / Joanna Labon.

This volume of new writings has a double purpose: to question Auden's description of the 1930s as a 'low dishonest decade' and to draw attention to the richness, complexity and diversity of women's writing of the period and how this deals with issues of politics, gender and history. The writers discussed include Elizabeth von Arnim, Elizabeth Bowen, Katherine Burdekin, Nancy Cunard, Storm Jameson, Rosamond Lehmann, Naomi Mitchison, Jean Rhys, Sylvia Townsend Warner, Rebecca West and Virginia Woolf. Key Features * A clear and informative introduction by Maroula Joannou sets the writers in historical and literary context * The essays deal with Modernist texts as well as traditional modes of writing, and with neglected and well-known writers * An important challenge to the ways in which the literature of the 1930s has been traditionally understood which questions the myth of the Auden generation * Brings together a range of distinguished contributors all of whom are experienced university teachers who all contribute new research.
(source: Nielsen Book Data)

• Introduction; PART I: Making Connections; CHAPTER ONE: The exclusions of politics; CHAPTER TWO: The orientations of fiction; CHAPTER THREE: Rereading dominance; PART II: Situating Debate; CHAPTER FOUR: The Indo-British relationship; CHAPTER FIVE: African literature and cultural politics; PART III: Reframing Issues; CHAPTER SIX: Fiction's silences and relocations?; CHAPTER SEVEN: A postcolonial retrospect; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z.

What do we learn from reading fiction that is missing from conventional political and historical sources? In addressing this question, this text examines a range of fiction and criticism as it pertains to colonialism, the North/South engagement and contemporary Third World politics.

• The dangerous seduction of the past: Ibsen's counter-discourse to modernity / Brian Johnston
• Patterns of structure and character in Ibsen's Rosmersholm / Marvin Calrson
• Marriage, metaphsics and The Lady from the Sea problem / Elinor Fuch
• The unspoken text in Hedda Gabler / Evert Sprinchorn
• Ibsen's endgame: a reconsideration of When We Dead Awaken / M.S. Barranger
• Strindbeg and Ibsen; toward a cubism of time in drama / Benjamin K. Bennett
• Strindberg's Miss Julie and the legend of Salome / Brian Parker
• Strindberg's To Damascus: archetypal autobiography / Diane Filby Gillespie
• Pirandello's mirror / Marvin Rosenberg
• Pirandellian theatre games: spectator as victim / J.L. Styan
• An author in search of characters: Pirandello and commedia dell'arte / James Fisher
• Sicilian themes and the restructured stage: the dialectic of fiction and drama in the work of Luigi Pirandello / Anne Paolucci
• Six Characters: Pirandello's last tape / Andrew K. Kennedy
• Godotology: there's lots of time in Godot / Richard Schechner
• Action and play in Beckett's theater / John Fletcher
• Acting for Beckett / Ruby Cohn
• Beckett as director: the manuscript production notebooks and critical interpretation / James Knowlson
• Being and non-being: Samuel Beckett's Not I / Hersh Zeifman
• Samuel Beckett's media plays / Linda Ben-Zvi
• Reading as theatre: understanding defamiliarization in Beckett's art / H. Porter Abbott
• Roundelay / Samuel Beckett.

This collection of essays, drawn from scholarship over the last forty years, explores the drama of four of the most influential proponents of modernism in European Drama: Ibsen, Strindberg, Pirandello, and Beckett. Although there are other dramatists who also contributed to Modernism, these four illustrate widely different and contrasting aspects to the movement. Since discussions of Modernism are generally restricted to poetry, novels, or the fine arts (painting, sculpture), examining theatre from this perspective covers new ground. The choice of these four dramatists as the subjects of the volume reflects the large percentage of essays dealing with their work published by Modern Drama, the leading scholarly journal in the field, which in turn is a measure of the centrality of these particular playwrights in critical discourse. The essays here have been selected to cover the main elements of the work of each of the four dramatists, with the aim of creating a useful teaching tool for university courses. Since some of the essays selected go back to the 1960s, while others are very contemporary, this volume also offers a perspective on the historical development of critical theory.
(source: Nielsen Book Data)