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• Introduction: Black: Sonic: Textuality
• One: Voice Prints: Toward a Black Media Concept
• Two: Communities in Transition: A Poetics of Black Communism
• Three: Tomorrow Is the Question! Amiri Baraka's Poetics for a Post-Revolutionary
• Age
• Four: Body/Language: The Semiotics and Poetics of Improvisation and Black
• Embodiment
• Coda: No Simple Explanations

"Soundworks takes the many recorded collaborations between African American poets and musicians associated with the long Black Arts era (late-1950s through mid-1970s) as the occasion to reframe the object of black sound studies as the product of material, technical, sensual, and ideological forces. Through new interpretations of Langston Hughes, Charles Mingus, Amiri Baraka, and the disparate experimental modes of "free jazz" practiced by Archie Shepp, Matana Roberts, Cecil Taylor, Jeanne Lee, and Jayne Cortez, Soundworks recovers the visionary world-making impulses encoded in the poetics of experimental practice and the alternative forms of communal and individual being to which those practices correspond"-- Provided by publisher.

• Acknowledgements List of Abbreviations Introduction 1Setting the Frame. Voices and Silences
• Part 1: The Silenced Feminine? 2Ambivalent Responses to the Bible 1Listening to the Implicit Dimension of the Bible 2Challenging Women's Silencing 2.1Dumb Silencing 2.2Garrulous Silencing 2.3Deaf Silencing 3So Many Forms of Silencing to Denounce 1The Demoted, Repressed Feminine: The Wild Girl 2Amputated Subjecthood: The Handmaid's Tale 3Boarding the Ark of the Refusees: The Book of Mrs Noah 4Beware of the Big Bad Lies: Sisters and Strangers 5The Voiceless Cipher in the Text: The Red Tent 6Battling Against God: Only Human 7Feminist Responses to Women's Silencing
• Part 2: Voices Draped in Silences Section 1:Encountering the Other through Silences. Diamant's the Red Tent and Roberts's the Wild Girl 4Dinah's Ode to the Plural Mother 1A Universe of Mothers and Goddesses 2The Bliss and Burden of Silence 2.1In the Image of the (Great) Mother(s) 2.2From Eloquent Silence to Silencing 2.3At One with the Mothers 5Mary Magdalene's Quest for Identity and God 1Introduction into the Ineffable Divine 1.1A Voluptuous Dissolution of the Self 1.2Ineffable Beauty and Harmony 2Regaining Primeval Wholeness 2.1Sexuality as a Route to the Divine 2.2The Marriage between the Inner Man and the Inner Woman 2.3The Rehabilitation of the Female Divine Principle 2.4Celebrating Life and the Eloquent Silence of Intimacy 3The Harrowing of Hell and Resurrection 3.1Mary Magdalene's First Trip to the Nether Realm 3.2On the Erroneous Belief in the Bodily Resurrection 3.3Mary Magdalene's Second Harrowing Scene 4The Voice of Female Dissent 4.1Each of Us Is the Rock 4.2Sailing in and to Silence Section 2:Blurred Voices and Spectral Silences. Roberts's the Book of Mrs Noah and Diski's Only Human 6Mrs Noah's Journey to Creativity 1On the Polyphonic, Silent Use of Epigraphy 1.1Echoing Donne's Erratic Progress of a Multiform Soul 1.2In the Image of ... Donne's Soul: Outshining Noah's Ark 1.3Sharing a Playful, Ironic Distance towards Authority 1.4Tempering with Donne's Voice 2A Great Web of Blurred Voices 2.1Voice Blurring Across Narrative Levels 2.2Blurring within the Main Narrative Level 2.3A Mixture of Chaos and Rhythm Celebrating Plurality 2.4Delivered from Confinement, Delivered through Confinement? 2.5A Heavy Weight to Bear? 2.6Conjugating "To Come" 3Climbing Down Deep Inside, to Spectral Silence 3.1Partying with the Quintessential Silenced 3.2Speaking with(out) the Lost Mother 7Sarai's Story Game of Competing Voices and Rival Desires 1Voice Blurring in a War of the Wor(l)ds 1.1At the Start, There Is an End 1.2Unidentified Narrative Voice for a Silenced Heroine 1.3Blurred Rival Versions of the Beginning(s) 2Sarai's Early Encounter with Spectral Silence 2.1Primeval Loss and the Beginning of Desire 2.2The Beginning of the End, and Disappointing New Starts 3Sarai-Abram-God, a Destructive Triangular Desire 3.1When the One Finds Her Own Voice, the Other Finds God's 3.2Enter I Am That I Am, the Homewrecker: Sarai Nil, God One 3.3The Battle of Wor(l)ds: Sarai One, God One 3.4The Choice of Laughter: Sarai Two, God One Section 3:Reticent Testimonies. Atwood's the Handmaid's Tale and Tennant's Sisters and Strangers 8Offred's Reticent Tale of Resistance 1An Introduction to Reticence 2Offred's Polyphonic Testimony 2.1Dialoguing with the Narratee(s) 2.2Passing On Other Mutinous Female Voices 2.3Offred's Chatty Discourse with the Maker 3Fighting for a Plurality of Identities and Meanings 3.1Remembering Her Former Selves 3.2Games of Words, Power and Desire with the Commander 3.3Offred as Secret Lover 9The Playfully Reticent Tale of Eve's Journey 1An Introduction into Grandmother Dummer's Reticence 2From the Passive Princess to the Demonic Lilith 3Subverting the Extremes: From Harlot to Madonna 4Female Lies and Truths: From Courtesan to Bluestocking
• Part 3: Closing Silences Voicing Openness 10Passing on the Heroine's Voice 1Mary Magdalene's Distrust of Words 2Eve's Ultimate Subversive Enactment of Female Stereotypes 3Sarai and the Ineffable Human Horror 4Dinah's Life Beyond the Grave 5The Irreconcilability of Mrs Noah's Aspirations? 6Offred's Blurred Voice 11Conclusion Works Cited Index.
• (source: Nielsen Book Data)

How are well-known female characters from the Bible represented in late 20th-century novels? Bertrand shows how biblical women in contemporary literature are given a voice that rests not only on words but also on silences. Exploring the many forms that silence can take, she presents an innovative typology that sheds light on this profoundly meaningful phenomenon.
(source: Nielsen Book Data)

"Founded by Vladimir Lenin in 1919 to instigate a world revolution, the Comintern advanced not just the proletarian struggle but also a wide variety of radical causes, including those against imperialism and racism in settings as varied as Ireland, India, the United States, and China. Notoriously, and from the organization's outset, these causes grew ever more subservient to Soviet state interest and Stalinist centralization. Comintern Aesthetics shows how the cultural and political networks emerging from the Comintern have continued, even after its demise in 1943. Tracking these networks through a multiplicity of artistic forms geared towards advancing a common, liberated humanity, this volume captures the failure of a Soviet-centered world revolution, but also its enduring allure in the present."-- Provided by publisher.

• Play (I): Formal (dis)order, sensory chaos ; A visit from the Goon Squad ; The castle of crossed destinies
• Play (II): Postmodern play with possible worlds ; At Swim-Two-Birds ; Lanark: a life in four books
• Literary sublime (I): Imagination reigns ; The third policeman ; Invisible cities
• Literary sublime (II): Imaginative engagements of our moralistic minds ; The God of small things ; Blood meridian
• Muted beauty: Complex harmonies ; Written on the body ; Never let me go
• Coda: Between borders ; One hundred years of solitude.

"Bridges discussions of traditional aesthetics with contemporary neuroaesthetics and evolutionary psychology and analyzes texts from many cultural and national traditions (including Gabriel García Márquez, Kazuo Ishiguro, Arundhati Roy, Jeanette Winterson, Jennifer Egan, Italo Calvino, Flann O'Brien, and Alasdair Gray), identifying three dominant aesthetic modes pertinent to post-war fiction"-- Provided by publisher.

• Introduction
• Part I Technological Modernity
• 'It was in that way that we used to talk, in July, 1914, of Armageddon: Wartime in Ford Madox Fords Parades End Tetralogy
• Gatsbys Defunct Clock and the Philosophy of Time
• 'Perpetual Recurrence: The Arrest of Time in Decadent Poetry
• Part II Glimpses of Eternity
• Eternity Glimpsed and Time Regained: Marcel Prousts Ontological Time
• The 'Fountain of Consciousness Novel: Dorothy Richardson, Henri Bergson, Gustav Geley
• 'Times Renewal: Death and Immortality in Thomas Hardys 'Emma Poems
• Part III Experiments with Time
• 'Pure Time and the Female Psyche: Idealism, Psychoanalysis and the Representation of Time in May Sinclairs Fiction
• J. W. Dunne: The Time Traveller
• 'To-Day and To-Morrow: Modernism and Futurology.

Literature and Modern Time is a collection of essays that explore literature in the context of a wave of challenges to linear conceptions of time introduced by thinkers such as Bergson, Einstein, McTaggart, Freud and Nietzsche. These challenges were not uniform in character. The volume will demonstrate that literature of the era under scrutiny was not simply reacting to new theories of time--in some cases it is actually inspiring and anticipating them. Thus Literature and Modern Time promises to offer a genuine dialogue between literature and time theory and in doing so will uncover and examine influences and connections-- sometimes unexpected--between philosophers and writers of the era. It will examine literary attempts to transcend and escape time and also challenge rupture-based accounts of modernist time by demonstrating that literary texts commonly associated with brokenness, decline or stasis, also, at the same time, maintain faith in healing, renewal and mobility. This collection contains interdisciplinary research of the quite highest kind - to see so many different kinds of time - narrative, historical, mechanical, subjective, non-linear time, myth and nostalgia - as well as time/space discussed here is very stimulating indeed. - Simon J. James, Professor of Victorian Literature, Department of English Studies, Durham University, UK.

• The telegraphic principle in nineteenth-century fiction
• The interface as cultural form : Conrad's sea captains
• After electromagnetism
• Starry sky : Wyndham Lewis and Mina Loy
• Giving the sign : Katherine Mansfield's stories
• Kafka's Strindberg
• Women spies
• Flying Africans, black pilots.

"This book is about some of the ways in which the world got ready to be connected, long before the advent of the technologies and the concentrations of capital necessary to implement a global 'network society'. It investigates the prehistory not of the communications 'revolution' brought about by advances in electronic digital computing from 1950 onwards, but of the principle of connectivity which was to provide that revolution with its justification and rallying-cry. Connectivity's core principle is that what matters most in any act of telecommunication, and sometimes all that matters, is the fact of its having happened. During the nineteenth century, the principle gained steadily increasing traction by means not only of formal systems such as the telegraph, but of an array of improvised methods and signalling devices. These methods and devices fulfilled not just an ever more urgent need, but a fundamental recurring desire, for near-instantaneous real-time communication at a distance. Connectivity became an end in itself: a complex, vivid, unpredictable romance woven through the enduring human desire and need for remote intimacy. Its magical enhancements are the stuff of tragedy, comedy, satire, elegy, lyric, melodrama, and plain description; of literature, in short. The book develops the concepts of signal, medium, and interface to offer, in its first part, an alternative view of writing in Britain from George Eliot and Thomas Hardy to D.H. Lawrence, Hope Mirrlees, and Katherine Mansfield; and, in its second, case-studies of European and African-American fiction, and of interwar British cinema, designed to open the topic up for further enquiry"-- Provided by publisher.

"During the political and historical upheavals of the mid-20th century, writers from colonized and occupied spaces questioned the necessity and ethics of their histories. Uncertainties about how to represent shifting spaces were reflected in the work of scholars and audiences reading works written by colonized peoples. As empire "wrote back" to the self-ordained centers of the world, modes of representation underwent a transformation. Exploring novels and diverse forms of literature from regions in West Africa, the Middle East, and Indigenous America, Maps of Empire examines how writers struggle with unstable boundaries generated by colonial projects and their dissolution, creating alternative topographies."-- Provided by publisher.
"This book examines how literary forms were affected by the decay and break up of old models of imperial administration during the middle of the 20th century."-- Provided by publisher.

• Comedic modernism
• Comedy of everyday life
• The beholder's share
• Satirizing modernity.

"Jacques Tati is viewed as one of the most innovative filmmakers in the history of cinema. At the same time, he also achieved global box-office success and a devoted following. In drawing on and subverting the conventions of film comedy, Tati not only satirized aspects of modern life, he attempted to develop in his viewers a playful, participatory attitude toward the modern world in order to overcome what he saw as a passivity characteristic of modernity. Malcolm Turvey argues that Tati captured both an elite and a popular audience by combining a modernist aesthetic with slapstick, sight gags, and other popular traditions of comedian-centered comedy that had developed in the silent era. In discussing films such as Play Time, Mon Oncle, and Mr. Hulot's Holiday, Turvey describes Tati's distinct comedic sensibility as one that was 'democratic' in allowing the viewer to choose what to look at in a particular scene. In addition to considering Tati's distinct comedic style, Turvey also considers the director's satirical view of the bourgeoisie and his love/hate relationship with modernity. Amply illustrated with images from the Tati's films, Play Time provides an illuminating and in-depth understanding of the richness of Tati's work"-- Provided by publisher.

• Tom
• 1. Pobeda nad revoli͡ut͡seĭ : preobrazhennai͡a voĭna ; Allegorii͡a--sinekdokha--metamorfoza : politicheskai͡a tropologii͡a istorizma ; Postanovlenii͡a o prekrasnom : ideĭnostʹ kak priem ; Metastalinizm : dialektika partiĭnosti i partiĭnostʹ dialektiki ; Realästhetik, narodnostʹ vmesto muzyki (oratorii͡a v pi͡ati chasti͡akh s prologom i ėpilogom) ; Gesamtwissenschaftswerk : romaticheskiĭ naturalizm i zhiznʹ v ee revoli͡ut͡sionnom razvitii
• Tom
• 2. Lingvisticheskiĭ realizm : vlastʹ grammatiki i grammatika vlasti ; Modusy, tropy i zhanry sovetskogo patriotizma : konspirologii͡a v formakh samoĭ zhizni ; Gesamtkriegswerk : zerkala kholodnoĭ voĭny ; Ėpikriz (vmesto ėpiloga)

• Том 1. Победа над революцей : преображенная война ; Аллегория--синекдоха--метаморфоза : политическая тропология историзма ; Постановления о прекрасном : идейность как прием ; Метасталинизм : диалектика партийности и партийность диалектики ; Realästhetik, народность вместо музыки (оратория в пяти частях с прологом и эпилогом) ; Gesamtwissenschaftswerk : роматический натурализм и жизнь в ее революционном развитии
• Том 2. Лингвистический реализм : власть грамматики и грамматика власти ; Модусы, тропы и жанры советского патриотизма : конспирология в формах самой жизни ; Gesamtkriegswerk : зеркала холодной войны ; Эпикриз (вместо эпилога).

• Modern worlds, simple lives
• Aspects of the novel: The English Review, the Anglo-Russian convention, and Impressionism
• War work: propaganda, translation, civilization
• Against the machine: imagists, symbolits, journalists, diplomats, and spies

The book provides a new account of modernist literature's emergence in Britain. British writers played a central role in the dissemination of Russian literature and culture during the early twentieth century, and their writing was transformed by the encounter. This study restores the thick history of that moment, by analyzing networks of dissemination and reception to recover the role of neglected aswell as canonical figures, and institutions as well as individuals. The dominant account of British modernism privileges a Francophile genealogy, but the turn-of-the century debate about the future of British writing was a triangular debate, a debate not only between French and English models, but between French, English, and Russian models. Francophile modernists associated Russian literature, especially the Tolstoyan novel, with an uncritical immersion in 'life' at the expense of a mastery of style, and while individual works might be admired, Russian literature as a whole was represented as a dangerous model for British writing. This supposed danger was closely bound up with the politics of the period, and this book investigates how Russian culture was deployed in the close relationships between writers, editors, and politicians who made up the early twentieth-century intellectual class-the British intelligentsia. Russomania argues that the most significant impact of Russian culture is not to be found in stylistic borrowings between canonical authors, but in the shaping of the major intellectual questions of the period: the relation between language and action, writer and audience, and the work of art and lived experience. The resulting account brings an occluded genealogy of early modernism to the fore, with a differentarrangement of protagonists, different critical values, and stronger lines of connection to the realist experiments of the Victorian past, and the anti-formalism and revived romanticism of the 1930s and 1940s future.

• Arthur Conan Doyle
• Theodor Storm
• Frances Hodgson Burnett
• Agatha Christie
• Conclusion.

"This book is a collection of insightful essays which discuss heroic endeavors to save endangered heirs and estates by searching devotedly for the truth in various criminal and civil situations. This book focuses especially on important works by Arthur Conan Doyle, Theodor Storm, Frances Hodgson Burnett, and Agatha Christie, while also discussing works by other important European authors. In each of these literary masterpieces the landowner or heir is emotionally and physically endangered and his or her house and estate imperiled by one or more individuals from within his or her own family or from within the sphere of influence of the family. In these works by Arthur Conan Doyle, Theodor Storm, Frances Hodgson Burnett, and Agatha Christie there is a valiant attempt by such individuals as Sherlock Holmes, Mary Lennox, the narrator of Aquis submersus, Hercule Poirot, and others to save the landowners and heirs who are endangered and the estates which are threatened by thoroughly investigating their situations and by searching meticulously for the truth. These protagonists share and exemplify the "passion for getting at the truth" (220) which Hercule Poirot in Agatha Christie's Murder in Three Acts declares is the primary motivating force and inspiration for his criminal investigations"-- Provided by publisher.

• Shofujin (little women): recreating Jo for the female audience in Meiji Japan
• Shojo sekai (Girls' World): the formation of girls' magazine culture and the emergence of "Scribbling girls"
• Yoshiya Nobuko and Kitagawa Chiyo: fiction by and for girls
• Shojo feminism in semi-autobiographical stories by Yoshiya Nobuko and Morita Tama
• Shojo no tomo (Girls' friend): conflicting ideals of girls on the homefront
• Himawari (Sunflower): reimagining Shojo during the occupation period
• Himuro Saeko's Shojo heroines from Heian to Showa
• Tanabe Seiko and the age of Shojo.

"Hiromi Tsuchiya Dollase examines the role that magazines have played in the creation and development of the concept of shōjo, the modern cultural identity of adolescent Japanese girls. Cloaked in the pages of girls' magazines, writers could effectively express their desires for freedom from and resistance against oppressive cultural conventions. Shōjo characters' "immature" qualities and social marginality gave authors the power to express their thoughts without worrying about the reaction of authorities. Age of Shōjo details the transformation of Japanese girls' fiction from the 1900s to the 1980s, including the adaptation of Western stories such as Louis May Alcott's Little Women in the Meiji period; the emergence of young female writers in the 1910s and the flourishing girls' fiction era of the 1920s and 1930s; the changes wrought by state interference during the war; and a new era of empowered post-war fiction. The book highlights seminal author Yoshiya Nobuko's dreamy fantasies and Kitagawa Chiyo's social realism, Morita Tama's autobiographical feminism, the contributions of Nobel Prize winning author Kawabata Yasunari, and the humorous modern fiction of Himuro Saeko and Tanabe Seiko. These authors address social topics such as education, same-sex love, feminism, and socialism using girls' perspectives. The age of shōjo, which began at the turn of the twentieth century, continues to nurture new generations of writers and entice audiences beyond age, gender, and nationality"-- Provided by publisher.

• Contents and AbstractsPrologue: What This Book Is and Is Not About chapter abstractThe Prologue introduces the reader to the goals of the book and its methodology. The death of literary theory is discussed, in Derridean sense, as opening up the much more important question of its multiple legacies. The precise meaning of "literary theory" is also clarified, in comparison with recent meta-discourses that draw on "theory" understood, more broadly and less specifically, as Continental philosophy.
• Introduction: The Radical Historicity of Literary Theory chapter abstractThe chapter explores the birth of literary theory in the years around World War I through a chronotopic prism: this birth took place at a precise moment in time and in a precise location - and for good reasons. The multiple (and overlapping) scenarios that best describe the emergence of literary theory point to the disintegration and modification of mainstream philosophical discourses (phenomenology-- Marxism)-- the need to respond to new experimental developments in literature-- exile, polyglossia, and the productive estrangement from a single (one's own national) language in which literature is thought. Asserting its radical historicity, one can observe that literary theory emerged in Eastern and Central Europe in the interwar decades as one of the conceptual by-products of the transition from a regime of relevance that recognizes literature for its role in social and political practice to a regime that values literature primarily for its qualities as art.
• 1Russian Formalism: Entanglements at Birth and Later Reverberations chapter abstractThis
• chapter is an exploration of the complex relationship between Formalism and Marxism, and between the different regimes of relevance and valorization of literature-and their respective argumentative logics-at work in Formalism and Marxism. To detail this, the chapter offers three case studies framed by the question of Formalism's impact and its encounters with intellectual formations that had their own (larger) stake in the political debates of the time: the 1927 public dispute between Formalism and Marxism-- Viktor Shklovsky's theory of estrangement and its multiple echoes-- and the mediated presence of Formalism in Eurasianism, a Russian exilic movement that sought to reconcile Formalism and Marxism, as well as the distinct regimes of relevance within which they operated.
• 2A Skeptic at the Cradle of Theory: Gustav Shpet's Reflections on Literature chapter abstractThis chapter takes the discussion of the different regimes of relevance and valorization of literature into new territory: it reveals how the more traditional regime of relevance that insisted on literature's wider social commitment and significance operated in a milder and more diffuse fashion in the 1920s as an invitation to interpret literature, not through the prism of literary theory-which would have entailed an insistence on the uniqueness of literature grounded in the specific way it uses language-but rather through the less radical screen of aesthetics and philosophy of art. Gustav Shpet is very much a thinker who participates in this process, but his place in it is contradictory and inconclusive: although foreshadowing some important tenets of Structuralism, he remained in the end poised between innovation and regression, and his ultimate loyalty tended to be with a philosophical and aesthetic approach to literature and the arts.
• 3Toward a Philosophy of Culture: Bakhtin beyond Literary Theory chapter abstractDuring the 1930s, Mikhail Bakhtin arrived at a new way of capturing the relevance of literature, different from the regimes of relevance that sustained the work of either the Russian Formalists or Gustav Shpet. Bakhtin's transition in the 1930s from ethics and aesthetics to philosophy of culture, analyzed in the first section of this chapter, is crucial for understanding this new regime. The chapter then proceeds to offer a case study of Bakhtin's positioning in relation to the 1930s Soviet debates on the classical and the canon-- this prepares the ground for returning to the question of Bakhtin's impact and later appropriations of his work, especially through the lens of postmodernism and post-Structuralism. Ultimately, this chapter seeks to grasp the specific regime of relevance that sustained the significance of literature in Bakhtin's writings of the 1930s, still centered around the importance of language, but not around "literariness."
• 4The Boundaries of Modernity: Semantic Paleontology and Its Subterranean Impact chapter abstractThe presence of semantic paleontology in literary studies and its importance for the methodological debates of the 1930s have never before been examined systematically. The chapter thus begins by outlining the foundations of semantic paleontology and its interventions in the study of literature during the 1930s-- the analysis then focuses on the principal methodological distinctions that semantic paleontology sought to draw in order to assert its own identity vis-a-vis other trends, especially Russian Formalism. Attention then turns to the central question: what was the place of semantic paleontology in the 1930s polemics on how and where one should draw the boundaries of modernity, and how did this shape the way its practitioners assigned significance to literature. The final section explores the impact of semantic paleontology on cultural and literary theory-- this impact persisted into the early 1980s, at times paradoxically reinforced by the critique semantic paleontology triggered.
• 5Interwar Exiles: Regimes of Relevance in Emigre Criticism and Theory chapter abstractThis chapter returns to the importance of exile and discusses literary theory not per se, but in its interactions with another distinct discourse, that of literary criticism, which had its own dynamic and its own conventions. The symbiosis of literary theory and criticism was a palpable feature of literary life in the diaspora, where the social and professional makeup of the new intelligentsia encouraged this conversion to a greater degree. The
• chapter is thus an examination of the ways in which emigre literary criticism between the world wars sought to extend an inherited regime of relevance that would conceive of literature as speaking directly to the traditional collective concerns of its creators and readers-in contrast to a radically different perspective that sought to endorse a regime of relevance in which literature would be denationalized so as to address the private concerns of the exile.
• Epilogue: A Fast-Forward to "World Literature" chapter abstractToday the legacy of modern literary theory is not available in a pure and concentrated fashion-- instead, it is dispersed, dissipated, often fittingly elusive. This inheritance is now performing its work in a climate already dominated by a different regime of relevance, which it faces directly and must negotiate. The patrimony of literary theory is currently active within a regime of relevance that thinks literature through its market and entertainment value, with only residual recall of its previously highly treasured autonomy. This regime of relevance has engendered the interpretative framework of "world literature" that has recently grown and gained popularity. Looking at Russian literary theory during the interwar decades, we are struck by the fact that many of its major trends were, obliquely or more directly, relevant to this new framework of understanding and valorizing literature in the regime of its global production and consumption.
• (source: Nielsen Book Data)

Until the 1940s, when awareness of Russian Formalism began to spread, literary theory remained almost exclusively a Russian and Eastern European invention. The Birth and Death of Literary Theory tells the story of literary theory by focusing on its formative interwar decades in Russia. Nowhere else did literary theory emerge and peak so early, even as it shared space with other modes of reflection on literature. A comprehensive account of every important Russian trend between the world wars, the book traces their wider impact in the West during the 20th and 21st centuries. Ranging from Formalism and Bakhtin to the legacy of classic literary theory in our post-deconstruction, world literature era, Galin Tihanov provides answers to two fundamental questions: What does it mean to think about literature theoretically, and what happens to literary theory when this option is no longer available? Asserting radical historicity, he offers a time-limited way of reflecting upon literature-not in order to write theory's obituary but to examine its continuous presence across successive regimes of relevance. Engaging and insightful, this is a book for anyone interested in theory's origins and in what has happened since its demise.
(source: Nielsen Book Data)

• Introduction: Argentina's Competing German Theaters
• 1. German Buenos Aires Asunder
• 2. Theater on the Move: Routes to Buenos Aires
• 3. Staging Dissidence: The Free German Stage
• 4. Hyphenated Hitlerism: Transatlantic Nazism Confronts Cultural Hybridity
• 5. Enduring Competition: German Theater in Argentina, 1946-1965 Epilogue.
• (source: Nielsen Book Data)

Following World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. Competing Germanies tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina's most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed on the city's stages. Covered widely in German- and Spanish-language media, theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their Argentine hosts. Competing Germanies reveals interchange and even mimicry between antifascist and nationalist German cultural institutions. Furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. Sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist Free German Stage and the nationalist German Theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance. Its cross-cultural, polyglot blend of German, Jewish, and Latin American studies gives Competing Germanies a wide, interdisciplinary academic appeal and offers a novel intervention in Exile studies through the lens of theater, in which both victims of Nazism and its adherents remain in focus.
(source: Nielsen Book Data)

• Introduction: stages of mortality
• 1 Beyond the veil: sensing death in symbolist theatre
• 2 Fantastical representations of death in First World War drama
• 3 The absurd drama of modern death denial
• 4 Theatres of catastrophe after Auschwitz and Hiroshima
• 5 The drama of dying in the early twenty-first century Conclusion: unending References Index
• .
• (source: Nielsen Book Data)

Death in modern theatre offers a unique account of modern Western theatre, focusing on the ways in which dramatists and theatre-makers have explored historically informed ideas about death and dying in their work. It investigates the opportunities theatre affords to reflect on the end of life in a compelling and socially meaningful fashion. In a series of interrelated, mostly chronological, micronarratives beginning in the late nineteenth century and ending in the early twenty-first century, this book considers how and why death and dying are represented at certain historical moments using dramaturgy and aesthetics that challenge audiences' conceptions, sensibilities, and sense-making faculties. It includes a mix of well-known and lesser-known plays from an international range of dramatists and theatre-makers, and offers original interpretations through close reading and performance analysis. -- .
(source: Nielsen Book Data)

• Introduction
• 1984 : the author as owner
• "A necessary myth" : the author as individual
• Whose joke is it anyway? : the author as originator
• Conclusion: Return of the author.

Many narratives of theater history suggest that the 1960s marked the start of a turning away from traditional, script-based, playwright-centric production practices. Literary studies in this period began exploring the concept of the "death of the author" along similar lines. But the author refused to die quietly, and authorship reasserts itself in even revolutionary and avant-garde theaters throughout the latter half of the twentieth century. The model of authorship-valorizing individuality, ownership, and originality-serves to maintain traditional modes of production that reproduce and uphold dominant ideologies even when the products created by those modes of production claim to buck tradition or run counter to cultural currents. This ideology of authorship plays a part in playwrights shutting down productions of their own plays, in the privileging of individual authorship over joint authorship even in collaborative genres, and in the insistence on originality even in performance traditions rooted in a shared repertoire. This tension between the theoretical death of the author and the growth of actual authors' abilities to control access to and even in some cases interpretations of their work exposes the deftness with which dominant ideologies and their attendant modes of production can repurpose the aesthetics of even countercultural or revolutionary movements in theater.
(source: Nielsen Book Data)

Summary in Chinese field only.
本书从四个方面展开研究:"追本溯源",通过呈现首次编选时教科书外国翻译作品及文学的面貌,力图勾勒面貌背后的发生动因;"宏大叙事"刻画了当时各个出版社所编教科书中外国翻译作品的多元丰富面貌,并讨论教育思潮、课程文件等外部因素与教科书选文的互动关系;"洞幽知微",是从选文内部观察其如何从社会文本转变为教学文本;"研究教学"阐释社会文化如何通过教科书选文及研究最终介入学生的个人生活,成为其生命成长的持续影响因素.

• Acknowledgements Introduction
• 1 The Slave Trade and Racial Community: Tamango and Roots
• 2 Patriotism and Political Communities: Charles Johnson's Middle Passage
• 3 Community as Utopia: Barry Unsworth's Sacred Hunger
• 4 Rethinking the Slave Trade/Rethinking Community: Edouard Glissant's "Relation" and Jean-Luc Nancy's "Being-with" Conclusion Works Cited Index.
• (source: Nielsen Book Data)

In Narrating the Slave Trade, Theorizing Community, Raphael Lambert explores the notion of community in conjunction with literary works concerned with the transatlantic slave trade. The recent surge of interest in both slave trade and community studies concurs with the return of free-market ideology, which once justified and facilitated the exponential growth of the slave trade. The motif of unbridled capitalism recurs in all the works discussed herein; however, community, whether racial, political, utopian, or conceptual, emerges as a fitting frame of reference to reveal unsuspected facets of the relationships between all involved parties, and expose the ramifications of the trade across time and space. Ultimately, this book calls for a complete reevaluation of what it means to live together.
(source: Nielsen Book Data)

• The agonizing agon: meditations on a conjugality / Ranjan Ghosh
• As the world turns: Heidegger and the origin of poetry / Georges Van Den Abbeele
• Benjamin's Baudelaire / Lutz Koepnick
• Georges Bataille and the hatred of poetry / Roland Végs?
• Voicing thought: Arendt, poetry, and philosophy / Cecilia Sjholm
• Language and the poetic word in Gadamer's Hermeneutics / James Risser
• "I am a poem, not a poet": Jacques Kacan's philosophy of poetry / Jean Michel Rabaté
• Adorno: poetry after poetry / Thomas H. Ford
• Sartre and poetry: je t'aime, moi non plus (I love you/me neither) / Francois Noudelmann
• Levinas: the poetical turn of being / Raoul Moati
• The intoxicated conversation: Maurice Blanchot and the poetics of critical masks / Daniel Rosenberg Nutters and Daniel T. O'Hara
• Merleau-Ponty, Ponge, and Valéry on speaking things: phenomenology and poetry / Galen Johnson
• Deleuze and poetry / Claire Colebrook
• Irigaray's breath, or poetry after poetics / Anne Emmanuelle Berger
• On the persistence of hedgehogs / Leslie Hill
• What are philosophers for in the age of the poets? Badiou with and against Heidegger / Bruno Bosteels
• Jean-Luc Nancy: poetry, philosophy, technicity / Ian James
• Rancière's on poetry / Jean-Phillippe Deranty
• Desire against discipline: Kristeva's theory of poetry / Carol M. Bové
• Agamben and poetry / Justin Clemens.

"Philosophy or Poetry?: A Continental Perspective is an exciting and innovative contribution to continental philosophy, aesthetics, and comparative literature that will have broad interest and appeal. The unique spirit with which major thinkers in the contemporary continental tradition engage with the challenge of poetry (and perhaps the arts in general) to questions both political and personal is conveyed in these essays commissioned from specialists and major thinkers in their own right--Georges Van Den Abbeele, Lutz Koepnick, Jean Michel Rabate, Francois Noudelmann, Claire Colebrook, Jean Philippe Deranty, and Bruno Bosteels, among others"-- Provided by publisher.

"Thomas Mann gilt gemeinhin als 'Ohrenmensch', sein Werk entsprechend der Ton-, hingegen kaum der bildenden Kunst verbunden. Diese Studie zeigt, dass letztere, mag sie auch subtiler in Erscheinung treten, keineswegs weniger bedeutsam ist, was zumal der Nachweis eines 'pikturalen Erzählens' stützt: Darunter wird ein narratives Verfahren gefasst, das gleichsam Bilder erstehen lässt, Genres--etwa dem Porträt, dem Interieur--und Produktionsmethoden--beispielsweise der Montage--der visuell gestaltenden Disziplin parallelisiert werden kann. Die Untersuchung fundiert die verschiedenen Ausprägungen in Manns Schaffen zunächst historisch-theoretisch, bevor sie eine eingehende Analyse vornimmt. Fokussiert werden dabei 'Buddenbrooks', 'Der Zauberberg' und 'Doktor Faustus', wodurch eine Entwicklung des Phänomens über die Zeit auszumachen ist. Eine kontextualisierende Interpretation, die musikalische Facetten ebenso einbezieht wie das literarische Umfeld, gibt im Pikturalen von Thomas Manns Œuvre schließlich eine implizite Poetologie zu erkennen."--Back cover

• Acknowledgments Preface Introduction
• 1. Malice in Wonderland
• 2. Defining Dystopia
• 3. The Invisible Hand Strikes Again
• 4. Strategies and Tactics of Dystopian Governments
• 5. Individual Survival and Resistance
• 6. The Resistance Will Not Be Intimidated
• 7. Disintegrating the Oppressor
• 8. Can You (Re)build It? Yes You Can! Epilogue Notes Index.
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Authoritarianism is on the march-and so is dystopian fiction. In the brave new twenty-first century, young-adult series like The Hunger Games and Divergent have become blockbusters; after Donald Trump's election, two dystopian classics, 1984 and The Handmaid's Tale, skyrocketed to the New York Times best-seller list. This should come as no surprise: dystopian fiction has a lot to say about the perils of terrible government in real life. In Survive and Resist, Amy L. Atchison and Shauna L. Shames explore the ways in which dystopian narratives help explain how real-world politics work. They draw on classic and contemporary fiction, films, and TV shows-as well as their real-life counterparts-to offer funny and accessible explanations of key political concepts. Atchison and Shames demonstrate that dystopias both real and imagined help bring theories of governance, citizenship, and the state down to earth. They emphasize nonviolent resistance and change, exploring ways to challenge and overcome a dystopian-style government. Fictional examples, they argue, help give us the tools we need for individual survival and collective resistance. A clever look at the world through the lenses of pop culture, classic literature, and real-life events, Survive and Resist provides a timely and innovative approach to the fundamentals of politics for an era of creeping tyranny.
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• The violent aesthetic: an introduction
• I. Lyric poetry. Witnessing and trophy hunting: writing violence from the great war trenches
• Real violence: W.B. Yeats and the Easter Rising
• Mimetic damage: the poetry of Northern Ireland's troubles
• II. Postcolonial novels. Partition's children: ethnic cleansing on the Indian subcontinent
• Slow tyranny: entangled allegory in recent Nigerian novels
• III. Testimonial. "Going through with it": Holocaust memoir and the challenge of beauty
• Apartheid spectacle: race, drama, and South Africa's state of emergency.

If art is our bid to make sense of the senseless, there is hardly more fertile creative ground than that of the twentieth century. From the trench poetry of World War I and Holocaust memoirs by Primo Levi and Elie Wiesel to the post-colonial novels of southern Asia and the anti-apartheid plays of the South African Market Theater, writers have married beauty and horror. This ""century of trauma"" produced writing at once saturated in political violence and complicated by the ethics of aesthetic representation. Stretching across genres and the globe, Terrible Beauty charts a course of aesthetic reconciliation between empathy and evil in the great literature of the twentieth century. The ""violent aesthetic""-a category the author traces back to Plato and Nietzsche-accommodates the pleasure people take not only in destruction itself but also in its rendering. As readers, we oscillate between a fascination with atrocity and an ethical imperative to bear witness. Arguing for the immersive experience of literature as particularly conducive to ethical contemplation, Marian Eide plumbs the aesthetic power and ethical purpose of this creative tension. By invoking the reader as complicit-both stricken witness and enthralled voyeur- Terrible Beauty sheds new light on the relationship between violence, literature, and the moral burdens of art.
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• Adapting gender: an introduction
• Mexican feminisms from literature to film
• Rebellious daughters in El secreto de Romelia
• Revolutionary variations entre (Pancho) Villa y una mujer desnuda
• Wedding the "other" in Novia que te vea
• Sexual tensions: queering feminism in De noche vienes, Esmeralda
• Collusions and conclusions
• Appendix 1. Filmography of Mexican films with LGBTQ content.

• 1. Ruling (Out) the Province and Its Consequences : Sovereignty, Dispossession, and Sacrificial Violence in the Early Work of Miloš Crnjanski and Miroslav Krleža
• 2. Disciplining the Wild(wo)men : Borisav Stanković's Not Wannabe Bride and Janko Polić Kamov's Wannabe Artist
• 3. A Rebellion on the Knees : Miroslav Krleža and the Croatian Narrative of Dispossession
• 4. The Carnival's Victims : Miloš Crnjanski's The Mask and Hugo von Hofmannsthal's Arabella
• 5. Exempt from Belonging : Ivo Andrić, Karl Kraus, and Post-imperial Trauma
• 6. The Dis/location of Solitude : The Dispossession of the Paternal Protection in Joseph Roth's The Radetzky March and Radomir Konstantinović's Descartes' Death
• 7. The Politics of Remembrance : Walter Benjamin's Berlin Childhood Around 1900 and Miroslav Krleža's A Childhood in Agram in 1902-1903.

• A visit to the Oriental
• The sing-along tradition
• Practices and tools
• Community singing and the "class house"
• Community singing and local outreach
• The advent of sound
• Epilogue.

During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing-it was practiced in every state, in theaters large and small-there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses' opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs "follow the bouncing ball" cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children's matinees of the 1930s.
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• Introduction: hoodlum poses and gestures
• Strange excitements: the topical and the sensational
• Getting out of town: the cycle unfolds
• After Easy rider: modulations and curious combinations
• Nazi satanists, Viet vets and M'cycle mamas (and other such pulp delights)
• Conclusion: buried in the sand forever.

Hoodlum Movies focuses on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s. Despised by critics, but welcomed by exhibitors denied first-run films, these cheaply and quickly produced movies were produced to appeal to audiences of mobile youths until 1972.

• Between figure and creature
• Life in the valley: the Jewish dog in Heinrich Heine's Prinzessin Sabbat
• A radical advocacy: suffering Jews and animals in S.Y. Abramovitsh's di Kliatshe
• Into the bowels of the earth: prophecy and animality in the poetry of Hayim Nachman Bialik and Uri Zvi Greenberg
• At home in a distorted life: the dog as a constellation in the work of Franz Kafka
• After the Holocaust: responses to the infrahuman in the works of S.Y. Agnon and Paul Celan.

• Acknowledgments Introduction-Islamophobia: The Word and the World
• 1. Islam, Culture, and Anarchy: Faith, Doubt, and Liberalism in Martin Amis, Ian McEwan, and John Updike
• 2. From Multiculturalism to Islamophobia: Identity Politics and Individualism in Hanif Kureishi and Monica Ali
• 3. Muslim Misery Memoirs: The Truth Claims of Exotic Suffering in Azar Nafisi and Khaled Hosseini
• 4. Migrant Cartographies: Islamophobia and the Politics of the City Space in Amy Waldman and H. M. Naqvi
• 5. States of Statelessness: Islamophobia and Border Spaces in the Post-9/11 Thrillers of John Le Carre, Dan Fesperman, and Richard Flanagan
• 6. Islamophobia and the Global Novel: "Worlding" History in Nadeem Aslam and Kamila Shamsie
• 7. Marketing the Muslim: Globalization and the Postsecular in Mohsin Hamid and Leila Aboulela Conclusion-Toward a Critical Muslim Literary Studies Notes Bibliography Index.
• (source: Nielsen Book Data)

In an era of rampant Islamophobia, what do literary representations of Muslims and anti-Muslim bigotry tell us about changing concepts of cultural difference? In Islamophobia and the Novel, Peter Morey analyzes how recent works of fiction have framed and responded to the rise of anti-Muslim prejudice, showing how their portrayals of Muslims both reflect and refute the ideological preoccupations of media and politicians in the post-9/11 West. Islamophobia and the Novel discusses novels embodying a range of positions-from the avowedly secular to the religious, and from texts that appear to underwrite Western assumptions of cultural superiority to those that recognize and critique neoimperial impulses. Morey offers nuanced readings of works by John Updike, Ian McEwan, Hanif Kureishi, Monica Ali, Mohsin Hamid, John le Carre, Khaled Hosseini, Azar Nafisi, and other writers, emphasizing the demands of the literary marketplace for representations of Muslims. He explores how depictions of Muslim experience have challenged liberal assumptions regarding the novel's potential for empathy and its ability to encompass a variety of voices. Morey argues for a greater degree of critical self-consciousness in our understanding of writing by and about Muslims, in contrast to both exclusionary nationalism and the fetishization of difference. Contemporary literature's capacity to unveil the conflicted nature of anti-Muslim bigotry expands our range of resources to combat Islamophobia. This, in turn, might contribute to Islamophobia's eventual dismantling.
(source: Nielsen Book Data)