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• Introduction: Why the Beats? Why Turkey? Why now?
• Labeling a phenomenon: the Beats as "underground" figures
• Building community outside the mainstream: underground poetix and the Turkish alternative press
• "What's your road, man?" Jack Kerouac's On the Road in Turkey
• The Beats on trial: the censorship of William S. Burroughs's The Soft Machine
• Howling in Turkish: appropriating the many faces of Allen Ginsberg
• Conclusion: the lessons of countercultural drift.

In Turkey the Beat message of dissent is being given renewed life as publishers, editors, critics, readers, and others dissatisfied with the conservative social and political trends in the country have turned to the Beats and other countercultural forebears for alternatives. Through an examination of a broad range of literary translations, media portrayals, interviews, and other related materials, this book seeks to uncover how the Beats and their texts are being circulated, discussed, and used in Turkey to rethink the possibilities they might hold for social critique today. Mortenson examines how in Turkey the Beats have been framed by the label "underground literature"; explores the ways they are repurposed in the counterculture-inspired journal Underground Poetix; looks at the reception of Jack Kerouac's On the Road and how that reaction provides a better understanding of the construction of "American-ness"; delves into the recent obscenity trail of William S. Burrough's novel The Soft Machine and the attention the book's supporters brought to government repression and Turkish homophobia; and analyzes the various translations of Allen Ginsberg's Howl to demonstrate the relevance Ginsberg still holds for social rebellion today--back cover.

• Introduction: writing from nowhere
• Intertextual lives: reading the autobiographical texts of women writers of the Beat era
• Truthiness: Diane Di Prima's Memoirs of a beatnik and Recollections of my life as a woman
• Diversification: Bonnie Bremser's Troia: Mexican memoirs and Beat chronicles
• Consociation: Ruth Weiss's Desert journal, For these women of the Beat, and Can't stop the Beat
• Displacements: Joanne Kyger's The Japan and India journals and The tapestry and the web
• Cross-textuality: Joyce Johnson's Minor characters and Door wide open
• Contextuality: Hettie Jones's How I became Hettie Jones and Drive
• Coda: rerouting Beat nowheres.

The Beat Generation was a group of writers who rejected cultural standards, experimented with drugs, and celebrated sexual liberation. Starting in the 1950s with works such as Jack Kerouac's On the Road, Allen Ginsberg's Howl, and William S. Burroughs's Naked Lunch, the Beat Generation defined an experimental zeitgeist that endures to today. Yet left out of this picture are the Beat women, who produced a large body of writing from the 1950s through the 1970s and beyond. In Women Writers of the Beat Era, Mary Paniccia Carden gives voice to these female writers and demonstrates how their work redefines our understanding of ""Beat."" The first single-authored study on female writers of this generation, the book offers vital analysis of autobiographical works by Diane di Prima, ruth weiss, Hettie Jones, Joanne Kyger, and others, introducing the reader to new voices that interact with and reconfigure the better-known narratives of the male Beat writers. In doing so, Carden demonstrates the significant role women played in this influential and dynamic literary movement.
(source: Nielsen Book Data)

• Frontmatter
• Contents
• Acknowledgments
• Introduction: Theses on the Concept of the Contemporary
• Chapter One. Decade: Period Pieces
• Chapter Two. Revival: Situating Noir
• Chapter Three. Waiting: Mysterious Circumstances
• Chapter Four. Weather: Western Climes
• Chapter Five. Survival: Work and Plague
• Conclusion: How to Historicize the Present
• Notes
• Bibliography
• Index.

What does it mean to call something "contemporary"? More than simply denoting what's new, it speaks to how we come to know the present we're living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Mieville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.
(source: Nielsen Book Data)

• Part I. Thinking about biblical law
• Introduction : water from Sinai
• The laws in scripture : dates and origins
• Biblical law : Mosaic or a mosaic?
• Approaches to the law : text and context
• Part II. Israel at the holy mountain
• The ten commandments : introduction
• The second commandment : revealing the nature of God
• Part III. Israel in the village assembly
• The covenant code : introduction
• Restoration or revenge? : the case of the goring ox
• The Bible and slavery : humanitarian concerns
• Part IV. Israel in the courts of the Lord
• Priestly and holiness law : introduction
• The Tabernacle : a palace in the wilderness
• Sacrifice : communication and community-making
• Gift offerings : commitment and belonging
• Hazards of the holy life 1 : debt offerings
• Hazards of the holy life 2 : food, death, sex, and birth
• The holiness code : crops, tattoos, and loving your neighbor
• Jubilee : utopia or practicality?
• Part V. Israel in the city
• Deuteronomy : introduction
• Covenant theology and religious intolerance : Israel and the Canaanites
• Revolution : centralization of the cult
• Justice at the gates : capital crimes and judicial reform
• The limits of social solidarity : women in deuteronomic law.

In this book William Morrow surveys four major law collections in Exodus-Deuteronomy and shows how they each enabled the people of Israel to create and sustain a community of faith. Treating biblical law as dynamic systems of thought facilitating ancient Israel's efforts at self-definition, Morrow describes four different social contexts that gave rise to biblical law: (1) Israel at the holy mountain (the Ten Commandments); (2) Israel in the village assembly (Exodus 20:22-23:19); (3) Israel in the courts of the Lord (priestly and holiness rules in Exodus, Leviticus, and Numbers); and (4) Israel in the city (Deuteronomy). Including forthright discussion of such controversial subjects as slavery, revenge, gender inequality, religious intolerance, and contradictions between bodies of biblical law, Morrow's study will help students and other serious readers make sense out of texts in the Pentateuch that are often seen as obscure. -- Provided by publisher.

Pragmatics of Fiction provides systematic orientation in the emerging field of studying pragmatics with/in fictional data. It provides an authoritative and accessible overview of this versatile new field in its methodological and theoretical richness. Giving center stage to fictional language allows scholars to review key concepts in sociolinguistics such as genre, style, voice, stance, dialogue, participation structure or features of orality and literariness. The contributors explore language as one of the creative tools to craft story worlds and characters by drawing on concepts such as regional, social and ethnic language variation, as well as multilingualism. Themes such as emotion, taboo language or impoliteness in fiction receive attention just as the challenges of translation and dubbing, the creation of past and future languages, the impact of fictional language on language change or the fuzzy boundaries of narratives. Each contribution, written by a leading specialist, gives a succinct, representative and up-to-date overview of research questions, theories, methods and recent developments in the field.
(source: Nielsen Book Data)

• 1. Life doesn't jsut happen to us
• 2. Viktor Frankl
• 3. Principle 1 : exercise the freedom to choose your attitude
• 4. Principle 2 : realize your will to meaning
• 5. Principle 3 : detect the meaning of life's moments
• 6. Principle 4 : don't work against yourself
• 7. Principle 5 : look at yourself from a distance
• 8. Principle 6 : shift your focus of attention
• 9. Principle 7 : extend beyond yourself
• 10. Meaning at the core : life
• 11. Meaning at the core : work
• 12. Meaning at the core : society
• 13. Viktor Frankl's legacy continues.

This book shows how Viktor Frankl's principles can help us find deeper, richer meaning in our lives. Features new and updated stories, new applications, new exercises, and a new chapter, and demonstrates critical links between a personal sense of meaning and happiness, resiliency, engagement, and health.

• Frontmatter
• Acknowledgments
• Contents
• 1. Introduction
• 2. Mimesis: Intermediality and Reductive Interpretations of Jazz Poems
• 3. Metaphor: Intermedial Translation as a Metaphorical Process
• 4 "Oh Play that Thing you Jazz Mad Fools!" Exploring the Creatively Inspired Metaphor jazz music is writing in Jazz Poetry
• 5. Conclusion
• Works Cited
• Poetry Index
• Credit Lines
• Name Index
• Subject Index.

The study develops a new theoretical approach to the relationship between two media (jazz music and writing) and demonstrates its explanatory power with the help of a rich sampling of jazz poems. Currently, the mimetic approach to intermediality (e.g., the notion that jazz poetry imitates jazz music) still dominates the field of criticism. This book challenges that interpretive approach. It demonstrates that a mimetic view of jazz poetry hinders readers from perceiving the metaphoric ways poets rendered music in writing. Drawing on and extending recent cognitive metaphor theories (Lakoff, Johnson, Turner, Fauconnier), it promotes a conceptual metaphor model that allows readers to discover the innovative ways poets translate "melody, " "dynamics, " "tempo, " "mood, " and other musical elements into literal and figurative expressions that invite readers to imagine the music in their mind's eye (i.e., their mind's ear).
(source: Nielsen Book Data)
The study develops a new theoretical approach to the relationship between two media (jazz music and writing) and demonstrates its explanatory power with the help of a rich sampling of jazz poems. Challenging the mimetic approach to intermediality, this book promotes a cognitive metaphor model that allows readers to discover the innovative ways poets translate "melody, " "tempo, " and other musical elements into figurative expressions.
(source: Nielsen Book Data)

• Welles's U.S.A.
• Pan-America
• Postwar Europe
• Immortal stories.

The films of Orson Welles inhabit the spaces of cities from America's industrializing midlandto its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character. This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars. Viewing Welles as a radical filmmaker whose innovative methods were only occasionally compatible with the commercial film industry, this volume examines the filmmaker's original vision for butchered films, such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and considers many projects the filmmaker never completed an immense "shadow oeuvre" ranging from unfinished and unreleased films to unrealized treatments and screenplays.
(source: Nielsen Book Data)

• Acknowledgments A Note to the Reader Introduction Part I. The Birth of Edo Kabuki
• 1. Presenting the Past: Edo Kabuki and the Creation of Community Part II. The Beginning of the End of Edo Kabuki: Yotsuya kaidan in 1825
• 2. Overturning the World: The Treasury of Loyal Retainers and Yotsuya kaidan
• 3. Shades of Jealousy: The Body of the Female Ghost
• 4. The End of the World: Figures of the Ubume and the Breakdown of Theater Tradition Part III: The Modern Rebirth of Kabuki
• 5. Another History: Yotsuya kaidan on Stage and Page Notes Bibliography Index.
• (source: Nielsen Book Data)

Satoko Shimazaki revisits three centuries of kabuki theater, reframing it as a key player in the formation of an early modern urban identity in Edo Japan and exploring the process that resulted in its re-creation in Tokyo as a national theatrical tradition. Challenging the prevailing understanding of early modern kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki instilled a sense of shared history in the inhabitants of Edo (present-day Tokyo) by invoking "worlds, " or sekai, derived from earlier military tales, and overlaying them onto the present. She then analyzes the profound changes that took place in Edo kabuki toward the end of the early modern period, which witnessed the rise of a new type of character: the vengeful female ghost. Shimazaki's bold reinterpretation of the history of kabuki centers on the popular ghost play Tokaido Yotsuya kaidan (The Eastern Seaboard Highway Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku IV. Drawing not only on kabuki scripts but also on a wide range of other sources, from theatrical ephemera and popular fiction to medical and religious texts, she sheds light on the development of the ubiquitous trope of the vengeful female ghost and its illumination of new themes at a time when the samurai world was losing its relevance. She explores in detail the process by which nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity.
(source: Nielsen Book Data)

• Acknowledgements ; Table of Contents ; Introduction ;
• Part 1: Entangled Legacies of Extreme Violence: Traumatic Memories in the Aftermath of the Yugoslav Successor Wars ; "Read and Remember": Ozren Kebo's Sarajevo for Beginners as Ironic Guidebook and Narrative Memorial.

• Remembering Nowhere: The Homeland-on-the-Move in the Exile Writing of Saša Stanišic and Ismet Prcic The Art and Craft of Memory: Re-Memorialization Practices in Post-Socialist Croatia ; The Evidence of Srebrenica: Oliver Frljic's Theater Court in Cowardice.

• Intersecting Memories in Post-Yugoslav Fiction: The Yugoslav Wars of the 1990s through the Lens of the Holocaust
• Part 2: Reclaiming the Past: Artistic and Literary Representations of Socialist Yugoslavia ; What Remains of Mostar?: Archive and Witness in Marsela Sunjic's Goodnight, City.

• Post-Socialism Remembers the Revolution: The Comedy of It Yugoslavia in Post-Yugoslav Artistic Practices: Or, Art as ... ;
• Part 3: Reconfiguring the Post-Yugoslav Present: Towards New Forms of Community and Identity.

• Garbage Heap, Storehouse, Encyclopedia: Metaphors for a Post- Yugoslav Cultural Memory Small Town as the Scene of a Memory Encounter: Portraits and Commemorations of Radomir Konstantinovic ; Recollecting an Alternative Modernity: Aleksandar Zograf's Flea Market Archaeologies.

Memory in the Balkans has often been described as binding, authoritative, and non-negotiable, functioning as a banner of war. This book challenges such a one-dimensional representation and offers a more nuanced analysis that accommodates frequently ignored instances of transnational solidarity, dialogue, communal mourning and working through a difficult past. Exploring a broad range of memorial practices, the book focuses on the ways in which cultural memory is mediated, performed and critically reworked by literature and the arts in the former Yugoslavia. Against the methodological nationalism of works that study Serbian, Croatian, or Bosniak culture as self-contained, this book examines post-Yugoslav literature, film, visual culture, and politicized art practices from a supranational angle. Not solely focusing on traumatic memories, but also exploring how post-Yugoslav cultural practices mobilize memory for a politics of hope, this volume moves beyond the trauma paradigm that still dominates memory studies. In its scope and approach, the book shows the relevance of the cultural memory of Eastern European citizens and the contribution they can offer to the building of Europe's shared cultural memory and transnational identity.
(source: Nielsen Book Data)

• Introduction See and Read On "Theology" and "Religion"
• 1. Writing/Righting the Written in Jeremiah Writing as Degeneration Writing as Progress Writing as Dictation Writing as Deconstruction Righting the Written in Jeremiah
• 2. Inscribing Writers in the Book of Jeremiah The Chain of Transmission Scribes as Writers Prophets as Writers Divine Writers Summary
• 3. Inscribing the Written in the Book of Jeremiah Scrolls within Jeremiah's Represented World Scrolls beyond Jeremiah's Represented World Jeremiah's Account of Textual Inscription
• 4. Inscribing Audiences in the Book of Jeremiah Audiences in the Book of Jeremiah Audiences of the Book of Jeremiah Conclusion A Theological Account of Writing in Jeremiah Avenues for Further Research Bibliography Index of Authors Index of Scripture.
• (source: Nielsen Book Data)

Unusually for the Hebrew Bible, the book of Jeremiah contains a high number of references to writers, writing, and the written word. The book (which was primarily written during the exilic period) demonstrates a key moment in the ongoing integration of writing and the written word into ancient Israelite society. Yet the book does not describe writing in the abstract. Instead, it provides an account of its own textualization, thereby blurring the lines between the texts in the narrative and the texts that constitute the book. Scrolls in Jeremiah become inextricably intertwined with the scroll of Jeremiah. To authenticate the book of Jeremiah as the word of YHWH, its tradents present a theological account of the chain of transmission from the divine to the prophet and then to the scribe and the written page. Indeed, the book of Jeremiah extends the chain of transmission beyond the written word to include the book of Jeremiah itself and, finally, a receiving audience. To make the case for this chain of transmission, See and Read's three exegetical chapters attend to writers (YHWH, prophets, and scribes), the written word, and the receiving audience. The first exegetical chapter describes the standard chain of transmission from the divine to the prophet to the scribe, demonstrating that all three agents in this chain are imagined as writers and that writing was increasingly understood as a suitable conduit for the divine word. The second exegetical chapter attends to the written word in Jeremiah, especially Jeremiah's self-references (e.g., "in this book, " "all these words") as a pivotal element in the extension of the chain of transmission beyond the words in the text to the words of the text. Finally, the third exegetical chapter considers the construction of the audience in the book of Jeremiah, concluding that the written word, as Jeremiah imagines it, is to be received by a worshiping audience through public reading but delivered via textual intermediaries.
(source: Nielsen Book Data)

• Executive Preface Acknowledgments
• 1. Breaking into Laughter
• 2. Jokes
• 3. Play
• 4. Mockery
• 5. Farce
• 6. The Invention of Humor Epilogue
• Appendix 1: Selected Chinese Humor Collections, 1900--1937
• Appendix 2: Which Classic? Editions and Paratexts Abbreviations Notes Glossary Bibliography Index.
• (source: Nielsen Book Data)

The Age of Irreverence tells the story of why China's entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called histories of laughter." In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this period from the 1890s to the 1930s transformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughter jokes, play, mockery, farce, and humor he reveals the textures of comedy that were a part of everyday life during modern China's first age of irreverence." This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.
(source: Nielsen Book Data)

• Foreword / Tony Russell
• Acknowledgments
• Introduction / Bill Greensmith
• Regional blues / Mike Rowe
• Chicago. Freddie King
• Jimmy Walker
• Louis Myers
• James Cotton
• Red Holloway
• Fred Below
• The old swing-masters : Moody Jones ; Floyd Jones ; Snooky Pryor ; Postscript
• Detroit. Baby Boy Warren
• Big Maceo
• Walter Mitchell
• LC Green
• St. Louis. Jimmy Thomas
• Joe Dean
• Sparks Brothers
• Fontella Bass
• Mississippi. Arthur "Big Boy" Crudup
• Louise Johnson
• Texas. Juke Boy Bonner
• Dr. Hepcat
• Albert Collins
• West Coast. Johnny Otis
• Roy Brown
• Record men. Henry Glover
• Ralph Bass.

British blues fan Mike Leadbitter launched the magazine Blues Unlimited in 1963. The groundbreaking publication fueled the then-nascent, now-legendary blues revival that reclaimed seminal figures like Son House and Skip James from obscurity. Throughout its history, Blues Unlimited heightened the literacy of blues fans, documented the latest news and career histories of countless musicians, and set the standard for revealing long-form interviews. Conducted by Bill Greensmith, Mike Leadbitter, Mike Rowe, John Broven, and others, and covering a who's who of blues masters, these essential interviews from Blues Unlimited shed light on their subjects while gleaning colorful detail from the rough and tumble of blues history. Here is Freddie King playing a string of one-nighters so grueling it destroys his car; five-year-old Fontella Bass gigging at St. Louis funeral homes; and Arthur "Big Boy" Crudup rising from life in a packing crate to music stardom. Here, above all, is an eyewitness history of the blues written in neon lights and tears, an American epic of struggle and transcendence, of Saturday night triumphs and Sunday morning anonymity, of clean picking and dirty deals. Featuring interviews with: Fontella Bass, Ralph Bass, Fred Below, Juke Boy Bonner, Roy Brown, Albert Collins, James Cotton, Arthur "Big Boy" Crudup, Joe Dean, Henry Glover, L.C. Green, Dr. Hepcat, Red Holloway, Louise Johnson, Floyd Jones, Moody Jones, Freddie King, Big Maceo Merriweather, Walter Mitchell, Louis Myers, Johnny Otis, Snooky Pryor, Sparks Brothers, Jimmy Thomas, Jimmy Walker, and Baby Boy Warren.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgements Introduction: Aronofsky, Auteurship, Aesthetics
• Chapter 1. Noise: Pi
• Migraine Paranoia Anxiety
• Chapter 2. Rhythm: Requiem for a Dream
• Rhythm, Emotion, and Film Aesthetics Artificial Rhythm Dysphoric Rhythm
• Chapter 3. Grief: The Fountain Mind and Body Science and Spirituality Finitude and Infinitude Working Through Grief
• Chapter 4. Masochism: The Wrestler
• Nostalgia in Denial Masochism and Spectatorship
• Chapter 5. The Uncanny Sublime: Black Swan
• Aestheticized/Embodied Pain Uncanny Personhood Pain and Pleasure Conclusion Appendix: Darren Aronofsky Filmography Bibliography Index.
• (source: Nielsen Book Data)

The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator's lived body. Aronofsky's films are often considered "cerebral" because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audiovisual style. Bodies in Pain looks at how Aronofsky's films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.
(source: Nielsen Book Data)

• Abie's irish rose
• The adding machine
• Amadeus
• Angel street
• Angels in America
• Annie
• Annie get your gun
• Anything goes
• Arcadia
• As thousands cheer
• Awake and sing!
• Babes in arms
• The band wagon
• The beauty queen of Leenane
• The black crook
• The book of mormon
• Born yesterday
• Brigadoon
• Bus stop
• Bye bye birdie
• Cabaret
• Captain Jinks of the horse marines
• The caretaker
• Carosel
• Cat on a hot tin roof
• Cats
• Charley's aunt
• Chacago
• The children's hour
• A chorus line
• City of angels
• Clybourne park
• Company
• The crucible
• Death of a salesman
• A delicate balance
• The diary of Anne Frank
• Dinner at eight
• A doll's house
• Doubt
• East Lynne
• Evita
• Falsettos
• Fences
• Fiddler on the roof
• Finian's rainbow
• Follies
• The front page
• Girl crazy
• The glass menagerie
• Glengarry Glen Ross
• Grease
• Guys and dolls
• Gypsy
• Hair
• Harvey
• The heiress
• Hello, Dolly!
• H.M.S. Pinafore
• The homecoming
• How to succeed in business without really trying
• The iceman cometh
• The importance of being Earnest
• In Dahomey
• Inherit the wind
• Jersey boys
• Jesus Christ superstar
• Joe Turner's come and gone
• Juno and the paycock
• The king and I
• Kiss me, Kate
• Lady in the dark
• Les misérables
• The life and adventures of Nicholas Nickleby
• Life with father
• The lion king
• Little Johnny Jones
• A little night music
• Long day's journey into night
• Look back in anger
• Loot
• A man for all seasons
• Man of La Mancha
• "Master Harold" ... and the boys
• The merry widow
• Metamorphoses
• The miracle worker
• A moon for the misbegotten
• The most happy fella
• Mrs. Warren's profession
• The Mulligan Guards' ball
• The music man
• My fair lady
• Naught Marietta
• No, no Nanette
• Noises off
• The odd couple
• Of thee I sing
• Oh, boy!
• Oklahoma!
• On the town
• Our town
• Pal Joey
• The persecution and assassination of Jean-Paul Marat as performed by the inmates of the asylum of Charenton under the direction of the Marquis de Sade
• Peter pan (play)
• The phantom of the opera
• The Philadelphia story
• Picnic
• Pippin
• The pirates of Penzance
• The playboy of the western world
• Porgy and Bess
• Private lives
• The producers
• Promises, promises
• Pygmalion
• Ragtime
• A raisin in the sun
• Rosencrantz and Guildenstern are dead
• 1776
• She loves me
• Show boat
• The show-off
• Shuffle along
• Six degrees of separation
• The skin of our teeth
• Sleuth
• The sound of music
• South Pacific
• Spring awakening
• A streetcar named desire
• The student prince in Heidelberg
• Sweeney Todd
• The time of your life
• Tobacco road
• Torch song triology
• A trip to Chinatown
• Uncle Tom's cabin
• Very good Eddie
• Waiting for Godot
• Waiting for Lefty
• Watch your step
• West Side story
• Who's afraid of Virginia Woolf?
• Wicked
• Yip yip Yaphank
• You can't take it with you
• Ziegfield follies of 1919.

• List of IllustrationsAcknowledgmentsIntroduction: Transnational Cowboys and the Middle East1. "I Longed to Be an Arab": The Eastern Origins of the Western2. From the Moors: The Easts and Wests of Willa Cather3. On Savagery and Civilization: Buffalo Bill and the East4. The Persian Peddler and the Egyptian Elixir: Racial Intimacies in Oklahoma!5. Specters of Loss: Violence and the National Mission in Post-9/11 Westerns6. East of the Spaghetti Western: Global Travels of the GenreConclusion: Once Upon a Time in the Middle EastNotesBibliographyIndex.
• (source: Nielsen Book Data)

Tracing the transnational influences of what has been known as a uniquely American genre, "the Western, " Susan Kollin's Captivating Westerns analyzes key moments in the history of multicultural encounters between the Middle East and the American West. In particular, the book examines how experiences of contact and conflict have played a role in defining the western United States as a crucial American landscape. Kollin interprets the popular Western as a powerful national narrative and presents the cowboy hero as a captivating figure who upholds traditional American notions of freedom and promise, not just in the region but across the globe. Captivating Westerns revisits popular uses of the Western plot and cowboy hero in understanding American global power in the post-9/11 period. Although various attempts to build a case for the war on terror have referenced this quintessential American region, genre, and hero, they have largely overlooked the ways in which these celebrated spaces, icons, and forms, rather than being uniquely American, are instead the result of numerous encounters with and influences from the Middle East. By tracing this history of contact, encounter, and borrowing, this study expands the scope of transnational studies of the cowboy and the Western and in so doing discloses the powerful and productive influence of the Middle East on the American West.
(source: Nielsen Book Data)

• Acknowledgements Notes on Contributors Foreword: Are You Watching Closely?, by Will Brooker Introduction: Dreaming a Little Bigger, Darling, by Stuart Joy
• 1. Developing an Auteur Through Reviews: The Critical Surround of Christopher Nolan, by Erin Hill-Parks
• 2. Cinephilia Writ Large: IMAX in Christopher Nolan's The Dark Knight and The Dark Knight Rises, by Allison Whitney
• 3. Nolan's Immersive Allegories of Filmmaking in Inception and The Prestige, by Jonathan Olson
• 4. Saints, Sinners and Terrorists: The Women of Christopher Nolan's Gotham, by Tosha Taylor
• 5. Memento's Postmodern Noir Fantasy: Place, Domesticity and Gender Identity, by Margaret A. Toth
• 6. Men in Crisis: Christopher Nolan, Un-truths and Fictionalising Masculinity, by Peter Deakin
• 7. Representing Trauma: Grief, Amnesia and Traumatic Memory in Nolan's New Millennial Films, by Fran Pheasant-Kelly
• 8. 'The dream has become their reality': Infinite Regression in Christopher Nolan's Memento and Inception, by Lisa K. Perdigao
• 9. Revisiting the Scene of the Crime: Insomnia and the Return of the Repressed, by Stuart Joy
• 10. 'You keep telling yourself what you know, but what do you believe?': Cultural Spin, Puzzle Films and Mind Games in the Cinema of Christopher Nolan, by Sorcha Ni Fhlainn
• 11. Stumbling Over the Superhero: Christopher Nolan's Victories and Compromises, by Todd McGowan
• 12. Inception's Singular Lack of Unity Among Christopher Nolan's Puzzle Films, by Andrew Kania
• 13. Inception's Video Game Logic, by Warren Buckland
• 14. On the Work of the Double in Christopher Nolan's The Prestige, by Kwasu David Tembo
• 15. No End in Sight: The Existential Temporality of Following, by Erin Kealey
• 16. Hearing Music in Dreams: Towards the Semiotic Role of Music in Nolan's Inception, by Felix Engel and Janina Wildfeuer
• 17. About Time Too: From Interstellar to Following, Christopher Nolan's Continuing Preoccupation with Time-Travel, by Jacqueline Furby Index.
• (source: Nielsen Book Data)

Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Christopher Nolan's films explore philosophical concerns by experimenting with nonlinear storytelling while also working within classical Hollywood narrative and genre frameworks. Contextualizing and closely reading each of his films, this collection examines the director's play with memory, time, trauma, masculinity, and identity, and considers the function of music and video games and the effect of IMAX on his work.
(source: Nielsen Book Data)
Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Nolan's films have explored the philosophical concerns of cinema articulated through a distinctive cerebral style that is marked by a frequent experimentation with non-linear storytelling, and yet remains integrated within classical Hollywood narrative and genre frameworks. Through the contextualization and close readings of each of his films, this collection brings together academic work from a range of disciplines to examine the director's central themes and preoccupations -- memory, time, trauma, masculinity and identity -- whilst also offering analyses of otherwise marginalized aspects of his work, such as the function of music, video games and the impact of IMAX and other new technologies.
(source: Nielsen Book Data)

• Gates of heaven and Vernon, Florida
• The thin blue line
• A brief history of time
• Television commercials and Errol Morris' first person
• Fast, cheap and out of control
• Mr. Death: the rise and fall of Fred A. Leuchter, Jr.
• The fog of war: eleven lessons from the life of Robert S. McNamara
• Standard operating procedure
• Tabloid
• Conclusion.

The Cinema of Errol Morris offers close analyses of the director's films - from box office successes like The Thin Blue Line and The Fog of War to Morris's early works like Vernon, Florida and controversial films like Standard Operating Procedure. Film scholar David Resha's reappraisal of Morris's films allows us to rethink the traditional distinction between stylistically conservative documentaries, which are closely invested in evidence and reality, and stylistically adventurous films, which artfully call to question such claims of nonfiction and truth. According to Resha, Errol Morris does not fit neatly in this division of the documentary tradition. Rather, his experiments with documentary conventions constitute another way to investigate reality - in particular, to examine the ways in which his subjects understand, and misunderstand, themselves and the world around them. Seen within the nonfiction tradition, an Errol Morris documentary is a flexible form of lively, engaging storytelling and shrewd, cutting, in-depth reportage.
(source: Nielsen Book Data)

• Acknowledgements Introduction
• 1. Blood Simple: 'It's the Same Old Song'
• 2. Raising Arizona: A State of Mind
• 3. Miller's Crossing: 'A Handsome Movie about Men in Hats'
• 4. Barton Fink: 'For the Common Man'
• 5. The Hudsucker Proxy: A Comedy of Reinvention
• 6. Fargo: In the Land of Tall Tales
• 7. The Big Lebowski: 'The Dude Abides'
• 8. O Brother, Where Art Thou?: The Hayseed Epic
• 9. The Man Who Wasn't There: Recreating Classic Film Noir
• 10. No Country for Old Men: Darkness in the New West
• 11. A Serious Man Conclusion: The Ends of the Auteur: Drawing Conclusions About Coen Brothers Movies Filmography Bibliography Index.
• (source: Nielsen Book Data)

The films of the Coen brothers have become a contemporary cultural phenomenon. Highly acclaimed and commercially successful, over the years their movies have attracted increasingly larger audiences and spawned a subculture of dedicated fans. Shunning fame and celebrity, Ethan and Joel Coen remain maverick filmmakers, producing and directing independent films outside the Hollywood mainstream in a unique style combining classic genres like film noir with black comedy to tell off-beat stories about America and the American Dream. This study surveys Oscar-winning films, such as Fargo (1996) and No Country for Old Men (2007), as well as cult favorites, including O Brother, Where Art Thou? (2000) and The Big Lebowski (1998). Beginning with Blood Simple (1984), it examines major themes and generic constructs and offers diverse approaches to the Coens' enigmatic films. Pointing to the pulp fiction of Dashiell Hammett, James M. Cain, and Raymond Chandler, the study appreciates the postmodern aesthetics of the Coens' intertextual creativity.
(source: Nielsen Book Data)
The films of the Coen brothers have become a contemporary cultural phenomenon. Highly acclaimed and commercially successful, over the years their movies have attracted increasingly larger audiences and spawned a subculture of dedicated fans. Shunning fame and celebrity, Ethan and Joel Coen remain maverick filmmakers, producing and directing independent films outside the Hollywood mainstream in a unique style combining classic genres like film noir with black comedy to tell off-beat stories about America and the American Dream. This study provides an overview of the films of the Coen brothers, including multiple-Oscar winning movies like Fargo and No Country for Old Men, as well as cult favorites such as O Brother, Where Art Thou? and The Big Lebowski. Beginning with the 1984 debut Blood Simple, this volume examines the development of the Coens' body of work, identifying and analyzing major themes and generic constructs and offering diverse interpretative approaches to their enigmatic films. Drawing on a wide array of sources, especially the pulp fiction of Dashiell Hammett, James M. Cain, and Raymond Chandler, this study examines the influence of these literary sources as well as key cinematic precursors to reveal how the Coens' intertextual creativity exemplifies the aesthetics of postmodernism.
(source: Nielsen Book Data)

• Title Page; Copyright; Contents; Acknowledgments; Introduction; 1 The Melancholy That Is Not Her Own: The Evolution of the Blueswoman and the Consolidation of; 2 Reconstituted Melancholy: Impossible Mourning and the Prevalence of Ritual and Race in August; 3 The Melancholy of Faith: Reading the Gendered and Sexual Politics of Testifying in James Baldwin's; 4 Queering Celie's Same-Sex Desire: Impossible Mourning, Trauma, and Heterosexual Failure in Alice; 5 A Clearing beyond the Melancholic Haze: Staging Racial Grieving in Suzan-Lori Parks's Venus and.

• Coda: On Conformity to the Category of Time (Race)Notes; Bibliography; Index.

A daring cultural and literary studies investigation, Cultural Melancholy explores the legacy of unresolved grief produced by ongoing racial oppression and resistance in the United States. Using acute analysis of literature, drama, musical performance, and films, Singleton demonstrates how rituals of racialization and resistance transfer and transform melancholy discreetly across time, consolidating racial identities and communities along the way. He also argues that this form of impossible mourning binds racialized identities across time and social space by way of cultural resistance efforts. Singleton develops the concept of "cultural melancholy" as a response to scholarship that calls for the separation of critical race studies and psychoanalysis, excludes queer theoretical approaches from readings of African American literatures and cultures, and overlooks the status of racialized performance culture as a site of serious academic theorization. In doing so, he weaves critical race studies, psychoanalysis, queer theory, and performance studies into conversation to uncover a host of hidden dialogues-psychic and social, personal and political, individual and collective-for the purpose of promoting a culture of racial grieving, critical race consciousness, and collective agency. Wide-ranging and theoretically bold, Cultural Melancholy counteracts the racial legacy effects that plague our twenty-first century multiculture.
(source: Nielsen Book Data)

• Pages:1 to 25; Pages:26 to 50; Pages:51 to 75; Pages:76 to 100; Pages:101 to 125; Pages:126 to 150; Pages:151 to 175; Pages:176 to 200; Pages:201 to 225; Pages:226 to 250; Pages:251 to 275; Pages:276 to 300; Pages:301 to 325; Pages:326 to 346.

The book demonstrates that in the late 19th to early 20th centuries Darwinism strongly influenced celebrated Greek literary writers and other influential intellectuals, which fueled debate in various areas such as 'man's place in nature', eugenics, the nature-nurture controversy, religion, as well as class, race and gender.
(source: Nielsen Book Data)

• The Ransom Library
• Unicorns and Myths
• Lincoln's Address
• Reflections on the Pond
• Knowledge and Wisdom
• Crossing the Threshold
• The Soccer Game
• The Outer Darkness
• Encounter with Bel
• The Choice of the Prodigal
• The Wrath of God
• A Disquisition Upon Sin
• The Pit of Hell
• Satan, Being, and Time
• The Pasture.

Using Socratic dialogue to argue the evidence, Fatal Choice makes its case for an orthodox view of hell. But more than that, the narrator finds himself on an actual tour of hell with none other than Hieronymus Bosch, the master of paintings on hell, as his mentor.

• List of Illustrations; Acknowledgments; Introduction;
• 1. Early Life and the Thirties; 2 The War and After;
• 3. The Sound of Fury and HUAC;
• 4. Britain in the Fifties;
• 5. Zulu and the Sixties;
• 6. Magic, Invention, and Telluride; Conclusion; Filmography; Notes; Select Bibliography; Index.

• TABLE OF CONTENTS; LIST OF ILLUSTRATIONS; ACKNOWLEDGEMENTS; INTRODUCTION; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; CHAPTER SEVEN; CHAPTER EIGHT; CHAPTER NINE; CHAPTER TEN; CONCLUSION; BIBLIOGRAPHY; INDEX

The New Art History and the Impressionist canon seem to have successfully claimed Edgar Degas as a misogynist, rabid nationalist and misanthrope whose art was both masterly and experimental. By analysing Degas's approach to space and his self-fashioning attitude towards identity within the ambiguities of the political and artistic culture of nineteenth-century France, this book questions the characterisation of Degas as a right-wing Frenchman and artist, and will change the way in which Degas is thought about today.
(source: Nielsen Book Data)

• Introduction: Bordering establishments: mapping and charting region before 1860 / Edward Watts and Keri Holt
• Section 1. Chartings : colonies and countries
• "To plant himself in with soveranity" : Welsh Indians and the early West, 1576-1812 / Edward Watts
• Reading the routes : early American nature writing and critical regionalism before the "postfrontier" / William V. Lombardi
• The "humor of the Old Southwest" and national regionality / Robert Gunn
• West Indian emancipation and the time of regionalism in the hemispheric 1850s / Martha Schoolman
• Section 2. Mappings : creating places
• The labor of regions : a comparative analysis of the economic and literary production of three southern regions in the eighteenth-century Atlantic world / Steven W. Thomas
• Captive in Mexico : Zebulon Pike and the new American regionalism / Andy Doolen
• On the Hudson River line : postrevolutionary regionalism, neo-Tory sympathy, and "A lady of the State of New York" / Duncan Faherty
• "I was now living in a new world" : Frederick Douglass, Herman Melville, and New Bedford's cosmopolitan locality / Jennifer Schell
• Section 3. Countermappings : new spaces in old places
• Tribal Christianity : the second Great Awakening and William Apess's backwoods Methodism / Harry Brown
• "We, too, the people" : rewriting resistance in the Cherokee Nation / Keri Holt
• African American literature of the Gold Rush / Janet Neary and Hollis Robbins
• Postscript: Creole adjudication : governing New Orleans and regional provisionality in the long nineteenth century / John Funchion.

Mapping Region in Early American Writing is a collection of essays that study how early American writers thought about the spaces around them. The contributors reconsider the various roles regions-imagined politically, economically, racially, and figuratively-played in the formation of American communities, both real and imagined. These texts vary widely: some are canonical, others archival; some literary, others scientific; some polemical, others simply documentary. As a whole, they recreate important mental mappings and cartographies, and they reveal how diverse populations imagined themselves, their communities, and their nation as occupying the American landscape. Focusing on place-specific, local writing published before 1860, Mapping Region in Early American Writing examines a period often overlooked in studies of regional literature in America. More than simply offering a prehistory of regionalist writing, these essays offer new ways of theorizing and studying regional spaces in the United States as it grew from a union of disparate colonies along the eastern seaboard into an industrialized nation on the verge of overseas empire building. They also seek to amplify lost voices of diverse narratives from minority, frontier, and outsider groups alongside their more well-known counterparts in a time when America's landscapes and communities were constantly evolving.
(source: Nielsen Book Data)

• Machine generated contents note: Some groundwork
• pt. I Time
• From puer aeternus to puer existens: The advent of the child "thrown forth"
• A series of footnotes to Rose
• The temporal otherness of childhood
• The Little Prince, between untameable others and untimely selves
• The very timely puer aeternus
• The thorny scandal of otherness
• "Not a second for repose": Untimely others
• "Serious men" and miserly adults
• The fox as didactic adult
• Childhood and the future
• Existential wait and the child as hope
• Hope for the end of the wait
• What are we waiting for? Existential wait in children's literature and adventure
• Promised plenitude with polar bears
• The unknowable end of the wait
• The rhythmical otherness of childhood
• The divided adult
• pt. II Otherness
• "Gaps", desire, and the didactic discourse
• Fiction and desire
• What's in the gap? Picturebook theory and the mighty "gap-filler"
• "Readerly" gap, or didactic gap?
• The didactic gap, between "reasonable" interpretation and child might
• Denning the adult-child didactic relation
• Collapsed prescriptions in the didactic discourse
• Subject but object but project: The child "thrown around"
• Cheating death: The Dumbledore problem
• Problems of others
• The adult-child relationship as a special "problem of others"
• The child as "living affirmation of human transcendence"
• The other, beyond the ethical and the empathetic
• How to cure your dad of his problem of others
• The pains of living among others
• Togetherness in the face of otherness
• The other within oneself
• pt. III Commitment
• "An exigence and a gift": Committed children's literature
• Political literature for children
• The didactic discourse of committed children's literature
• Theorising committed literature
• Anguish and hope in the committed children's book
• The political child and the apolitical adult in committed children's literature
• Going on a guilt-trip: Ecological children's literature
• Contemporary children's literature as a form of committed literature
• The pedagogical romance
• Love
• All education is a failure
• Pleasure and jouissance of the pedagogical text
• Spud subversion
• Adulthood reloaded: The pedagogical romance as a form of play.

The Mighty Child offers an existentialist approach to the theorization and criticism of children's literature, nuancing the academic claim that children's literature, specifically defined as `didactic', alienates childhood from adulthood and disempowers its implied child reader. This volume recentres the theoretical debate around the constructions of time and power which characterize conceptions of childhood and adulthood in children's literature. The `hidden', didactic adult of children's literature, this volume argues, is not solely the dictatorial planner of the child's future, but also a disempowered entity, yearning for unpredictability in the semi-educational, semi-aesthetic endeavor of the children's book. Leaning on current work in the field of children's literature theory, on French phenomenological existentialism, and on the philosophy and sociology of childhood, The Mighty Child is addressed to contemporary theorists and critics of children's literature.
(source: Nielsen Book Data)

• Acknowledgements
• Table of Contents
• List of Figures
• Editions and Abbreviations
• Chapter 1. Introduction
• Chapter 2. The Deinomenids and Syracuse
• Chapter 3. Poets and Patrons in Hieron's Syracuse
• Chapter 4. Placing Hieron
• Chapter 5. Pythian
• 2: A Royal Poetics
• Chapter 6. Olympian
• 1: Feasting at the King's Hearth
• Chapter 7. Pythian
• 3. Victory over Vicissitude
• Chapter 8. Pythian
• 1. A Civic Symphony
• Chapter 9. Henchmen (Nemean 9, Nemean 1, Olympian 6)
• Conclusion
• Bibliography
• INDEX.
• (source: Nielsen Book Data)

This groundbreaking book attempts a fully contextualized reading of the poetry written by Pindar for Hieron of Syracuse in the 470s BC. It argues that the victory odes and other occasional songs composed by Pindar for the Sicilian tyrant were part of an extensive cultural program that included athletic competition, coinage, architecture, sanctuary dedication, city foundation, and much more. In the tumultuous years following the Persian invasion of Greece in 480, elite Greek leaders and their cities struggled to capitalize on the Greek victory and to define themselves as free peoples who triumphed over the threat of Persian monarchy. Pindar's victory odes are an important contribution to Hieron's goal of panhellenic pre-eminence, redescribing contemporary tyranny as an instantiation of golden-age kingship and consonant with best Greek tradition. In a delicate process of cultural legitimation, the poet's praise deploys athletic victories as a signs of more general preeminence. Three initial chapters set the stage by presenting the history and culture of Syracuse under the Deinomenid tyrants, exploring issues of performance and patronage, and juxtaposing Hieron to rival Greek leaders on the mainland. Subsequent chapters examine in turn all Pindar's preserved poetry for Hieron and members of his court, and contextualizes this poetry by comparing it to the songs written for Hieron by Pindar's poetic contemporary, Bacchylides. These odes develop a specifically "tyrannical " mythology in which a hero from the past enjoys unusual closeness with the gods, only to bring ruin on him or herself by failing to manage this closeness appropriately. Such negative exemplars counterbalance Hieron's good fortune and present the dangers against which he must (and does) protect himself by regal virtue. The readings that emerge are marked by exceptional integration of literary interpretation with the political/historical context.
(source: Nielsen Book Data)

• Title; Contents; Preface;
• Chapter 1 The Law and the Prophets: Models of Interpretation;
• Chapter 2 Mantic and Magic: Prophecy in the Ancient Near East;
• Chapter 3 Kingmakers and Miracle Workers: Prophets in Israel and Judah;
• Chapter 4 Inspiration and Interpretation: The Books of the Prophets;
• Chapter 5 "The End Has Come": The Beginnings of the Prophetic Tradition;
• Chapter 6 "Behold, I Put My Words in Your Mouth": The Formation of the Prophetic Tradition;
• Chapter 7 "Comfort, Comfort My People": The Endings of the Prophetic Tradition.

• Chapter 8 "The End Is yet to Come": The Book of Daniel and Jewish Apocalypticism
• Chapter 9 "Its Interpretation Is": The Prophets in the Dead Sea Scrolls;
• Chapter 10 "Not to Abolish But to Fulfill": The Prophets in the New Testament;
• Chapter 11 Research on the Prophets: Problems and Perspectives; Chronology; Index of Authors; Index of Scripture; Index of Other Ancient Sources.

The book offers an up-to-date and readable introduction to the manifold literary and historical problems of biblical prophecy. Reinhard Gregor Kratz provides the reader with a clear analysis of the development of the institution of prophecy in ancient Israel and Second Temple Judaism. Through a close reading of the prophetic corpus he demonstrates that in biblical tradition we have to distinguish between the historical and the literary prophet. The historical prophet is a representative of ancient Israelite religion while the literary prophet - as presented in the biblical books--is part of the tradition of emerging Judaism. This development from historical representative to literary figure guides the analysis and it becomes clear that the special character of biblical prophecy as encountered in the books of the Bible is the result of a long process of tradition during which older material is reworked, restructured, and applied to new situations. The book takes the distinction between the historical and the literary phenomenon of prophecy seriously and, therefore, will focus primarily on the literary tradition. This tradition will be recognized as such and should not be confused with the historical prophet and his words. After an overview of various models of interpretation of biblical prophecy, Kratz will consider first the broader historical background and the phenomenology of prophecy in the ancient Near East and ancient Israel. Then he moves on to the literary evidence of prophecy in biblical tradition and its historical context, including the earliest commentaries on prophetic books, the Pesharim from Qumran. The study concludes with an appendix that will introduce the reader to the scholarship on the prophets and provide some suggestions for further reading.
(source: Nielsen Book Data)

• Cover ; Title Page ; Copyright Page ; Contents ; List of Illustrations; Acknowledgments; Introduction;
• Part 1. Attention and Perception; 1 Tragic Misperceptions in a Novel of Twin Consciousness; 2 Digital Fiction and Your Divided Attention; 3 Gameworlds and Sharing Attention in Mythic Proportions;
• Part 2. Memory and Emotion; 4 Great Escalations in a Novelof the Everyday; 5 Digital Fiction and Memory's Playground; 6 Playing with Memory and a Graphophiliac God of War; Coda: Pattern and Coherence; Appendix; Notes; References; Index.

"How do writers represent cognition, and what can these representations tell us about how our own minds work? Refiguring Minds in Narrative Media is the first single-author book to explore these questions across media, moving from analyses of literary narratives in print to those found where so much cultural and artistic production occurs today: computer screens. Expanding the domain of literary studies from a focus on representations to the kind of simulations that characterize narratives in digital media, such as those found in interactive, web-based digital fictions and story-driven video games, David Ciccoricco draws on new research in the cognitive sciences to illustrate how the cybernetic and ludic qualities characterizing narratives in new literary media have significant implications for how we understand the workings of actual minds in an increasingly media-saturated culture. Amid continued concern about the impact of digital media on the minds of readers and players today, and the alarming philosophical questions generated by the communion of minds and machines, Ciccoricco provides detailed examples illustrating how stories in virtually any medium can still nourish creative imagination and cultivate critical--and ethical--reflection. Contributing new insights on attention, perception, memory, and emotion, Refiguring Minds in Narrative Media is a book at the forefront of a new wave of media-conscious cognitive literary studies"-- Provided by publisher.
"Explores how writers and artists represent cognition in print fiction, digital fiction, and video games and what these representations tell us about our minds across media"-- Provided by publisher.

• The patronage of the Passion series
• Tradition, theology and the Passion series
• The documentation for the Passion series
• The poetry of meditation and the Passion series
• The self-images in the Passion series
• The legacy of the Passion series.

Rembrandt's Passion Series is the name given to five paintings of similar size and format executed over a six year time-frame, 1633-39. The works were commissioned by Frederick Hendrick, Prince of Orange and Stadtholder of the United Provinces, for his gallery at The Hague. Although each of the paintings depicts a traditional scene from the Passion of Christ, they do not form anything like a complete Passion Cycle. Seven years later, Hendrick ordered a further two works of the same size and format of subjects from the Nativity of Christ. Six of the seven paintings now hang in the Alte Pinakothek, Munich. As the works were executed between Rembrandt's well-documented early Leiden period and his rapid rise to prominence as a portraitist in Amsterdam, the works have not attracted the scholarly attention they might, although the commission was undoubtedly the most prestigious of the young Rembrandt's career. Rembrandt's Passion Series is the first monograph to focus solely on this important group of paintings by the most famous artist of the Dutch Golden Age. In it, Simon McNamara traces the history of the commission by way of extant documentation, places the works in a seventeenth-century Dutch religious milieu, and shows how the series is both reflective of contemporary theological exegesis and embedded in theoretical artistic debates of the age. The book also highlights the extraordinary nature of the self-images seen in three of the paintings and discusses the legacy of the series in later graphic works by Rembrandt and in paintings by his pupils. In doing so, Rembrandt's Passion Series presents a series of unifying factors, both stylistically and thematically, for the works that allows the Passion Series to be properly, and finally, called a "series".
(source: Nielsen Book Data)

• Introduction:
• A science of literature? 1
• 1) poetics of the life sciences 13
• Formative forces: Biological, philosophical, and linguistic generativity 15
• Divining relations: Forms of generational recognition around 1800 34
• Tidings of the earth: towards a history of romantic Erdkunde 47
• On nerve fibers: rhetoric and brain anatomy in Georg Büchner 69
• 2) the science of reading 91
• Reading off: On the emergence of the scientific gaze 93
• On the margins of Derrida's terminology: Deconstruction, dissemination, mise en abîme 107
• What does it mean to orient oneself in thinking? 123
• A tremendous chasm: Nietzsche, the birth of tragedy, and the measure of poetry 141
• 3) the Applied science of literature 163
• Torque: life and motion in the 19th century 165
• A doctrine of transmissions: on the classification of machines around 1800 176
• The novel machine: narration in the 19th century 195
• The moment of narration: outlines for a kinematic study
• Of Goethe's Wilhelm Meisters Wanderjahre 209
• Afterword by David E. Wellbery 227
• List of first publications 239
• Bibliography 241.

One of the most contentious questions in contemporary literary studies is whether there can ever be a science of literature that can lay claim to objectivity and universality, for example by concentrating on philological criticism, by appealing to cognitive science, or by exposing the underlying media of literary communication. The present collection of essays seeks to open up this discussion by posing the question's historical and systematic double: has there been a science of literature, i.e. a mode of presentation and practice of reference in science that owes its coherence to the discourse of literature? Detailed analyses of scientific, literary and philosophical texts show that from the late 18th to the late 19th century science and literature were bound to one another through an intricate web of mutual dependence and distinct yet incalculable difference. The Science of Literature suggests that this legacy continues to shape the relation between literary and scientific discourses inside and outside of academia.
(source: Nielsen Book Data)
Do literary texts provide distinctive access to the history of science? Is the study of literature based on scientific procedures? Is there a connection between scientific processes and literary forms? The essays in this collection show how literary and scientific texts from the late 18th to the late 19th centuries revolve around these questions.
(source: Nielsen Book Data)

• Preface: "Sebald's Vision" Acknowledgments
• 1. "Like the snow on the Alps": After Nature
• 2. What Does It Mean to Count?: The Emigrants
• 3. Frames and Excursions: Rings of Saturn
• 4. Toward an Epistemology of Citation: "Air War and Literature"
• 5. A is for Austerlitz: Austerlitz
• 6. Deja vu or... : "Like Day and Night-On the Pictures of Jan Peter Tripp"
• 7. A Critical Eye: The Interviews Notes Works Cited Index.
• (source: Nielsen Book Data)

W. G. Sebald's writing has been widely recognized for its intense, nuanced engagement with the Holocaust, the Allied bombing of Germany in WWII, and other episodes of violence throughout history. Through his inventive use of narrative form and juxtaposition of image and text, Sebald's work has offered readers new ways to think about remembering and representing trauma. In Sebald's Vision, Carol Jacobs examines the author's prose, novels, and poems, illuminating the ethical and aesthetic questions that shaped his remarkable oeuvre. Through the trope of "vision, " Jacobs explores aspects of Sebald's writing and the way the author's indirect depiction of events highlights the ethical imperative of representing history while at the same time calling into question the possibility of such representation. Jacobs's lucid readings of Sebald's work also consider his famous juxtaposition of images and use of citations to explain his interest in the vagaries of perception. Isolating different ideas of vision in some of his most noted works, including Rings of Saturn, Austerlitz, and After Nature, as well as in Sebald's interviews, poetry, art criticism, and his lecture Air War and Literature, Jacobs introduces new perspectives for understanding the distinctiveness of Sebald's work and its profound moral implications.
(source: Nielsen Book Data)

• Nullius in verba: acting on silent film
• Hamlet: a short film, 1900
• Camille: the ladies of the Camellias
• Queen Elizabeth: a moving picture, 1912
• Sarah Bernhardt at home: cinema and the home, circa 1915
• Mothers of France: World War I, film, and propaganda
• Conclusion.

The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth vaulted her to international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema. A leading-edge reappraisal of a watershed era, Seeing Sarah Bernhardt tells the story of an icon who bridged two centuries--and changed the very act of watching film.
(source: Nielsen Book Data)

• Introduction: the belly of Sheol
• "Strange introversions": Newman, mature conversion, and the poetics of purgatory
• George Eliot's Winter tales
• The bachelor's purgatory: arrested development and the progress of shades
• Odd women and eccentric plotting: maturity, modernism, and Woolf's Victorian retrospection
• Coda: descent and tradition.

In The Victorian Novel of Adulthood, Rebecca Rainof confronts the conventional deference accorded the bildungsroman as the ultimate plot model and quintessential expression of Victorian nation building. The novel of maturity, she contends, is no less important to our understanding of narrative, Victorian culture, and the possibilities of fiction. Reading works by Charles Dickens, George Eliot, Henry James, John Henry Newman, and Virginia Woolf, Rainof exposes the little-discussed theological underpinnings of plot and situates the novel of maturity in intellectual and religious history, notably the Oxford Movement. Purgatory, a subject hotly debated in the period, becomes a guiding metaphor for midlife adventure in secular fiction. Rainof discusses theological models of gradual maturation, thus directing readers' attention away from evolutionary theory and geology, and offers a new historical framework for understanding Victorian interest in slow and deliberate change.
(source: Nielsen Book Data)

• Beyond the canon : feminizing the national project through traditional music
• Ancient treasures, modernized : women's dutar ensembles and arranged folk music
• Like Tereshkova in the cosmos : women at the forefront of Western art music
• "Greetings to the Uzbek people!" : popular music in public and private settings
• Marrying past, present, and future : the essential work of wedding music
• Women's musical communities performing the nation.

Influences by women's distinct influence on Uzbekistan's music, this work ventures into Tashkent's post-Soviet music scene to place women musicians within the nation's evolving artistic and political arenas. Drawing on fieldwork and music study carried out between 2001 and 2014, the text challenges the Western idea of Central Asian women as sequestered and oppressed. Instead, the work notes the ways Uzbekistan's women stand at the forefront of four prominent genres: maqom, folk music, Western art music, and popular music.

• Modern Chinese impressions of the South Seas other
• Transcolonial challenges to diasporic ethno-nationalism
• Creolizing the Sinophone from Malaysia to Taiwan
• An ecopoetics of the Borneo rainforest
• De-racializing cultural legibility in postcolonial Singapore
• Popular Sino-Thai integration narratives.

Postcolonial literature about the South Seas, or Nanyang, examines the history of Chinese migration, localization, and interethnic exchange in Southeast Asia, where Sinophone settler cultures evolved independently by adapting to their "New World" and mingling with native cultures. Writing the South Seas explains why Nanyang encounters, neglected by most literary histories, should be considered crucial to the national literatures of China and Southeast Asia.
(source: Nielsen Book Data)

• Regionales/Regional standards
• Cruz Grande
• Juvencio and Meche Vargas
• Collaborations
• Ometepec and Cuajinicuilapa
• Acapulco
• Costa Grande.

This compilation of ballads from the Mexican states of Guerrero and Oaxaca documents one of the world's great traditions of heroic song, a tradition that has thrived continuously for the last hundred years. The 107 corridos presented here, gathered during ethnographic research over a period of twenty-five years in settlements on Mexico's Costa Chica and Costa Grande, offer a window into the ethos of heroism among the cultures of coastal West Mexico, a region that has been plagued by recurrent cycles of violence. John Holmes McDowell presents a richly annotated field collection of corridos, accompanied by musical scores and transcriptions and translations of lyrics. In addition to his interpretation of the corridos' depiction of violence and masculinity, McDowell situates the songs in historical and performance contexts, illuminating the Afro-mestizo influence in this distinctive population.
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• Credits
• Acknowledgements
• About the Companion Website
• Introduction: Arranging an Icon
• 1. Complex Compositional Origins: Ferde Grofe and Rhapsody in Blue
• 2. Living Legends: George Gershwin and Rhapsody in Blue
• 3. From Camp to Carnegie Hall: Leonard Bernstein and Rhapsody in Blue
• 4. Rearranging Concert Jazz: Duke Ellington and Rhapsody in Blue
• 5. "It Ain't Necessarily So": Larry Adler and Rhapsody in Blue
• 6. Selling Success: Visual Media and Rhapsody in Blue
• Epilogue: Arranging at Multiple Levels
• Notes
• Bibliography
• Index.
• (source: Nielsen Book Data)

In Arranging Gershwin, author Ryan Banagale approaches George Gershwin's iconic piece Rhapsody in Blue not as a composition but as an arrangement - a status it has in many ways held since its inception in 1924, yet one unconsidered until now. Shifting emphasis away from the notion of the Rhapsody as a static work by a single composer, Banagale posits a broad vision of the piece that acknowledges the efforts of a variety of collaborators who shaped the Rhapsody as we know it today. Arranging Gershwin sheds new light on familiar musicians such as Leonard Bernstein and Duke Ellington, introduces lesser-known figures such as Ferde Grofe and Larry Adler, and remaps the terrain of this emblematic piece of American music. At the same time, it expands on existing approaches to the study of arrangements - an emerging and insightful realm of American music studies - as well as challenges existing and entrenched definitions of composer and composition. Based on a host of newly discovered manuscripts, the book significantly alters existing historical and cultural conceptions of the Rhapsody. With additional forays into visual media, including the commercial advertising of United Airlines and Woody Allen's Manhattan, it moreover exemplifies how arrangements have contributed not only to the iconicity of Gershwin and Rhapsody in Blue, but also to music-making in America - its people, their pursuits, and their processes.
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• List of Figures
• Acknowledgments
• Introduction: Not Turning the Ethiope White
• 1. "The Baptiz'd Race"
• 2. Ovidian Baptism in Book 2 of The Faerie Queene
• 3. Infidel Texts and Errant Sexuality: Translation, Reading, and Conversion in Harington's Orlando Furioso
• 4. Transformative and Restorative Romance: Re-'turning' Othello and the Location of Christian Identity
• 5. Reproducing Christians: Salvation, Race, and Gender on the Early Modern English Stage
• Afterword: A Political Afterlife of a Theology of Race and Conversion
• Notes
• Bibliography
• Index.
• (source: Nielsen Book Data)

Becoming Christian argues that romance narratives of Jews and Muslims converting to Christianity register theological formations of race in post-Reformation England. The medieval motif of infidel conversion came under scrutiny as Protestant theology radically reconfigured how individuals acquire religious identities. Whereas Catholicism had asserted that Christian identity begins with baptism, numerous theologians in the Church of England denied the necessity of baptism and instead treated Christian identity as a racial characteristic passed from parents to their children. The church thereby developed a theology that both transformed a nation into a Christian race and created skepticism about the possibility of conversion. Race became a matter of salvation and damnation. Britton intervenes in critical debates about the intersections of race and religion, as well as in discussions of the social implications of romance. Examining English translations of Calvin, treatises on the sacraments, catechisms, and sermons alongside works by Edmund Spenser, John Harrington, William Shakespeare, John Fletcher, and Phillip Massinger, Becoming Christian demonstrates how a theology of race altered a nation's imagination and literary landscape.
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• Introduction: Channeling wonder : fairy tales, television, and intermediality / Pauline Greenhill and Jill Terry Rudy
• Part I: For and about kids and adults. Who's got the power? : Super Why!, viewer agency, and traditional narrative / Ian Brodie and Jodi McDavid ; Merlin as initiation tale : a contemporary fairy-tale manual for adolescent relationships / Emma Nelson and Ashley Walton ; Lost in the woods : adapting "Hansel and Gretel" for television / Don Tresca ; Things Jim Henson showed us : intermediality and the artistic making of Jim Henson's The storyteller / Jill Terry Rudy
• Part II: Masculinities and/or femininities. Things Walt Disney didn't tell us (but at which Rodgers and Hammerstein at least hinted) : the 1965 made-for-TV musical of Cinderella / Patricia Sawin ; "Appearance does not make the man" : masculinities in Japanese television retellings of "Cinderella" / Christie Barber ; Molding messages : analyzing the reworking of "Sleeping Beauty" in Grimm's Fairy Tale Classics and Dollhouse / Jeana Jorgensen and Brittany Warman ; The power to revolutionize the world, or absolute gender apocalypse? : queering the new fairy-tale feminine in Revolutionary Girl Utena / Kristian Lezubski
• Part III: Beastly humans. Criminal beasts and swan girls : the Red Riding trilogy and Little Red Riding Hood on television / Pauline Greenhill and Steven Kohm ; New fairy tales are old again : Grimm and the Brothers Grimm / Kristiana Willsey ; A dark story retold : adaptation, representation, and design in Snow White : a tale of terror / Andrea Wright ; Judith or Salome? Holofernes or John the Baptist? Catherine Breillat's rescripting of Charles Perrault's "Bluebeard" / Shuli Barzilai
• Part IV: Fairy tales are real! Reality TV, fairy-tale reality, commerce, and discourse. Ugly stepsisters and unkind girls : reality TV's repurposed fairy tales / Linda J. Lee ; Getting real with fairy tales : magic realism in Grimm and Once Upon a Time / Claudia Schwabe ; Happily never after : the commodification and critique of fairy tale in ABC's Once Upon a Time / Rebecca Hay and Christa Baxter ; The fairy tale and the commercial in Carosello and Fractured Fairy Tales / Christina Bacchilega and John Rieder
• Part V: Fairy-tale teleography. A critical introduction ot the fairy tale teleography / Kendra Magus-Johnston.

Television has long been a familiar vehicle for fairy tales and is, in some ways, an ideal medium for the genre. Both more mundane and more wondrous than cinema, TV magically captures sounds and images that float through the air to bring them into homes, schools, and workplaces. Even apparently realistic forms like the nightly news routinely employ discourses of ""once upon a time, "" ""happily ever after, "" and ""a Cinderella story."" In Channeling Wonder: Fairy Tales on Television, Pauline Greenhill and Jill Terry Rudy offer contributions that invite readers to consider what happens when fairy tale, a narrative genre that revels in variation, joins the flow of television experience. Looking in detail at programs from Canada, France, Italy, Japan, the UK, and the US, this volume's twenty-three international contributors demonstrate the wide range of fairy tales that make their way into televisual forms. The writers look at fairy-tale adaptations in musicals like Rodgers and Hammerstein's Cinderella, anthologies like Jim Henson's The Storyteller, made-for-TV movies like Snow White: A Tale of Terror, Bluebeard, and the Red Riding Trilogy, and drama serials like Grimm and Once Upon a Time. Contributors also explore more unexpected representations in the Carosello commercial series, the children's show Super Why!, the anime series Revolutionary Girl Utena, and the live-action dramas Train Man, and Rich Man Poor Woman. In addition, they consider how elements from familiar tales, including ""Hansel and Gretel, "" ""Little Red Riding Hood, "" ""Beauty and the Beast, "" ""Snow White, "" and ""Cinderella"" appear in the long arc serials Merlin, Buffy the Vampire Slayer, and Dollhouse, and in a range of television formats including variety shows, situation comedies, and reality TV. Channeling Wonder demonstrates that fairy tales remain ubiquitous on TV, allowing for variations but still resonating with the wonder tale's familiarity. Scholars of cultural studies, fairy-tale studies, folklore, and television studies will enjoy this first-of-its-kind volume. Contributors Include: Jodi McDavid, Ian Brodie, Emma Nelson, Ashley Walton, Don Tresca, Jill Terry Rudy, Patricia Sawin, Christie Barber, Jeana Jorgensen, Brittany Warman, Kirstian Lezubski, Pauline Greenhill, Steven Kohm, Kristiana Willsey, Andrea Wright, Shuli Barzilai, Linda J. Lee, Claudia Schwabe, Rebecca Hay, Christa Baxter, Cristina Bacchilega, John Rieder, Kendra Magnus-Johnston.
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• Acknowledgements List of Figures Introduction
• Chapter 1. (Re) Defining Spanish Cinema?
• Chapter 2. Julio Medem: At The Margins of the Self
• Chapter 3. Bigas Luna: Physical Frontiers
• Chapter 4. Jose Luis Guerin: Between Reality and Fiction Conclusion Filmography Index.
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The works of popular Spanish film directors Julio Medem, Juan Jose Bigas Luna, and Jose Luis Guerin are newly appraised in relation to their engagement with alternative national and cinematic subjectivities. Their films examine the limitations of the cinematic gaze, as the author shows, highlighting the ways in which these directors make recourse to hybridity, contact, and interface to overcome the binary power dynamic previously thought to be a feature of cinema. This book explores their status as solely "Spanish" filmmakers while focusing on their diverse and immensely creative output, offering new readings that engage with current debates in visual culture surrounding psychoanalytic theory, phenomenology, and theories of documentary practice.
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• Contents: Introduction: catalysing encounters-- Habitat New York: Joseph Cornell's `imaginative universe'-- `Confusion hath fuck his masterpiece': re-reading William Burroughs, from Junky to Nova Express-- `Donc le poete est vraiment voleur du feu': Frank O'Hara and the poetics of love and theft-- Bob Dylan and collage: `a deliberate cultural jumble'-- Conclusion: `yield us a new thought'-- Bibliography-- Index.
• (source: Nielsen Book Data)

Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.
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• Abbreviations Introduction: Dancing Around the Well
• 1. In the Beginning there was Chaos
• 2. A Gem in its Setting
• 3. Words Frozen and Thawed
• 4. Rhapsody in Prose
• 5. The Mosaic of Speech
• 6. The Universal Library
• 7. In a Roman Mirror Conclusion: Emptying the Well Bibliography Index locorum communium Index rerum Index nominum Index Erasmianus.
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This study examines the transmission and transformation of commonplace wisdom in Renaissance humanism by tracing a series of filiations between classical sayings, anecdotes, and exampes and Renaissance poems, essays, and fictions. The circulation of commonplaces can be understood either as a process of reanimation and revitalization, where frozen sayings thaw out and come to life, or conversely as a process of immobilization and incrustation that petrifies tradition. The paradigmatic figure for this process is the proverbial dance around the well, which expresses both the danger and the compulsion of borrowed speech.
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• Early films: Roadhouse nights (1930), City streets (1931), and Mister Dynamite (1935)
• The Thin man (1934)
• After The thin man: from sequel to series Woman in the dark (1934) and Watch on the Rhine (1943)
• The Maltese falcon (1931), Satan met a lady (1936), and The Maltese falcon (1941)
• The glass key (1935 and 1942)
• Hammett in retrospect: Miller's crossing
• Conclusion: Dashiell Hammett and the movies.

As the father of the hardboiled detective genre, Dashiell Hammett had a huge influence on Hollywood. Yet, it is easy to forget how adaptable Hammett's work was, fitting into a variety of genres and inspiring generations of filmmakers. Dashiell Hammett and the Movies offers the first comprehensive look at Hammett's broad oeuvre and how it was adapted into films from the 1930s all the way into the 1990s. Film scholar William H. Mooney reveals the wide range of films crafted from the same Hammett novels, as when The Maltese Falcon was filmed first as a pre-Code sexploitation movie, then as a Bette Davis screwball comedy, and finally as the Humphrey Bogart classic. He also considers how Hammett rose to Hollywood fame not through the genre most associated with him, but through a much fizzier concoction, the witty murder mystery The Thin Man. To demonstrate the hold Hammett still has over contemporary filmmakers, the book culminates in an examination of the Coen brothers' pastiche Miller's Crossing. Mooney not only provides us with an in-depth analysis of Hammett adaptations, he also chronicles how Hollywood enabled the author's own rise to stardom, complete with a celebrity romance and a carefully crafted public persona. Giving us a behind-the-scenes look at the complex power relationships, cultural contexts, and production concerns involved in bringing Hammett's work from the page to the screen, Dashiell Hammett and the Movies offers a fresh take on a literary titan.
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• Introduction
• The poetics of origin. Beginnings; The muse mother
• The nexus of influence. Claims of belonging; The dour line
• From patria to matria. The first draft; In her own image; Night feed
• Out of myth into history. The journey; Outside history; The telling of stories
• Changing the past. A time of violence; Object lessons; The lost land
• Exiles in our own country. Against love poetry; Domestic violence; Journeys and maps.

"In this powerful and authoritative study Jody Allen Randolph provides the fullest account yet of the work of a major figure in twentieth-century Irish literature as well as in contemporary women's writing. Eavan Boland's achievement in changing the map of Irish poetry is tracked and analyzed from her first poems to the present. The book traces the evolution of that achievement, guiding the reader through Boland's early attachment to Yeats, her growing unease with the absence of women's writing, her encounter with pioneering American poets like Sylvia Plath, Elizabeth Bishop, and Adrienne Rich, and her eventual, challenging amendments in poetry and prose to Ireland's poetic tradition. Using research from private papers the book also traces a time of upheaval and change in Ireland, exploring Boland's connection to Mary Robinson, in a chapter that details the nexus of a woman president and a woman poet in a country that was resistant to both. Finally, this book invites the reader to share a compelling perspective on the growth of a poet described by one critic as Ireland's "first great woman poet"-- Provided by publisher.

• Introduction: Wonder and the Rise of Fiction
• 1. Wonder in the Age of Enlightenment
• 2. Rethinking the Real with Robinson Crusoe and David Hume
• 3. Suspending the Reader in Tom Jones and The Castle of Otranto
• 4. "Marvelous Tales of Wonders Performed, or rather, Not Performed" in Baron Munchausen's Narrative
• 5. "A Little Voyage of Discovery?": Fiction and the Pursuit of Knowledge
• Epilogue.
• (source: Nielsen Book Data)

A footprint materializes mysteriously on a deserted shore; a giant helmet falls from the sky; a traveler awakens to find his horse dangling from a church steeple. Eighteenth-century fiction brims with moments such as these, in which the prosaic rubs up against the marvelous. While it is a truism that the period's literature is distinguished by its realism and air of probability, Eighteenth-Century Fiction and the Reinvention of Wonder argues that wonder is integral to-rather than antithetical to-the developing techniques of novelistic fiction. Positioning its reader on the cusp between recognition and estrangement, between faith and doubt, modern fiction hinges upon wonder. Eighteenth-Century Fiction and the Reinvention of Wonder's chapters unfold its new account of fiction's rise through surprising new readings of classic early novels-from Daniel Defoe's Robinson Crusoe to Jane Austen's Northanger Abbey-as well as bringing to attention lesser known works, most notably Rudolf Raspe's Baron Munchausen's Narrative of His Marvellous Travels. In this bold new account, the eighteenth century bears witness not to the world's disenchantment but rather to wonder's re-location from the supernatural realm to the empirical world, providing a re-evaluation not only of how we look back at the Enlightenment, but also of how we read today.
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• Machine generated contents note: pt. I RECONSIDERING GENRES: RISING, BORROWING, CIRCULATING
• 1. Heroic Couplets and Eighteenth-Century Heroism: Pope's Complicated Characters / Sophie Gee
• 2. "The Battle Without Killing": Eliza Haywood and the Politics of Attempted Rape / Kate Parker
• 3. Novel's Poem Envy: Mid-Century Fiction and the "Thing Poem" / Aran Ruth
• 4. "To delineate the human mind in its endless varieties": Integral Lyric and Characterization in the Tales of Amelia Opie / Shelley King
• pt. II RECONSIDERING SUBJECTS AND OBJECTS
• 5. Undividing the Subject of Literary History: From James Thomson's Poetry to Daniel Defoe's Novels / Wolfram Schmidgen
• 6. Rise of the Novel and the Fall of Personification / Heather Keenleyside
• 7. "Light Electric Touches": Sterne, Poetry, and Empirical Erotics / David Fairer
• 8. "Great Labour Both of Mind and Tongue": Articulacy and Interiority in Young's Night Thoughts and Richardson's Clarissa / Joshua Swidzinski
• 9. Art of Attention: Navigating Distraction and Rhythms of Focus in Eighteenth-Century Poetry / Natalie Phillips.

Eighteenth-Century Poetry and the Rise of the Novel Reconsidered begins with the brute fact that poetry jostled up alongside novels in the bookstalls of eighteenth-century England. Indeed, by exploring unexpected collisions and collusions between poetry and novels, this volume of exciting, new essays offers a reconsideration of the literary and cultural history of the period. The novel poached from and featured poetry, and the "modern" subjects and objects privileged by "rise of the novel" scholarship are only one part of a world full of animate things and people with indistinct boundaries. Contributors: Margaret Doody, David Fairer, Sophie Gee, Heather Keenleyside, Shelley King, Christina Lupton, Kate Parker, Natalie Phillips, Aran Ruth, Wolfram Schmidgen, Joshua Swidzinski, and Courtney Weiss Smith.
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• Introduction : the emergence of film culture / Malte Hagener
• Policing race: postcolonial critique, censorship and regulatory responses to the cinema in Weimar film culture / Tobias Nagl
• The visible woman in and against Béla Balázs / Erica Carter
• Encounters in darkened rooms: alternative programming of the Dutch Filmliga, 1927-31 / Tom Gunning
• When was Soviet cinema born? the institutionalization of Soviet film studies and the problems of periodization / Natalie Ryabchikova
• Eastern avatars: Russian influence on European avant-gardes / Ian Christie
• Early Yugoslav ciné-amateurism: cinéphilia and the institutionalization of film culture in the Kingdom of Yugoslavia during the interwar period / Greg de Cuir, Jr
• Soviet-Italian cinematic exchanges: transnational film education in the 1930s / Masha Salazkina
• The avant-garde, education and marketing: the making of non-theatrical film culture in interwar Switzerland / Yvonne Zimmermann
• Interwar film culture in Sweden: avant-garde transactions in the emergent welfare state / Lars Gustaf Andersson
• Building the institution: Luigi Chiarini and Italian film culture in the 1930s / Francesco Pitassio and Simone Venturini
• A new art for a new society? the emergence and development of film schools in Europe / Duncan Petrie
• Institutions of film culture: festivals and archives as network nodes / Malte Hagener
• The German Reich Film Archive in an international context / Rolf Aurich.

"Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today."-- Provided by publisher.

• Memorials to modernity: postcolonial pilgrimage in V.S. Naipaul and Salman Rushdie
• Chinua Achebe: tradition and the talent for individuality
• Modernism re(d- )dressed : interrogativity and individuality in Jean Rhys
• Nadine Gordimer: the conservationist as conversationist
• J.M. Coetzee: a question of the body, and an answer
• Conclusion: postcolonial modernism, postcolonial humanism.

Brian T. May argues that, contrary to widely held assumptions of postcolonial literary criticism, a distinctive subset of postcolonial novels significantly values and scrupulously explores a healthy individuality. These "extravagant" postcolonial works focus less on collective social reality than on the intimate subjectivity of their characters. Their authors, most of whom received some portion of a canonical western education, do not subordinate the ambitions of their fiction to explicit political causes so much as create a cosmopolitan rhetorical focus suitable to their western-educated, western-trained, audiences. May pursues this argument by scrutinizing novels composed during the thirty-year postindependence, postcolonial era of Anglophone fiction, a period that began with the Nigerian Chinua Achebe's Things Fall Apart and that ended, many would say, with the Ayatollah Khomeini's 1989 publication of the Rushdie Fatwa. May contends that the postcolonial authors under consideration - Naipaul, Rushdie, Achebe, Rhys, Gordimer, and Coetzee - inherited modernism and refashioned it. His account of their work demonstrates how it reflects and transfigures modernists such as Conrad, Eliot, Yeats, Proust, Joyce, and Beckett. Tracing the influence of humanistic values and charting the ethical and aesthetic significance of individualism, May demonstrates that these works of "extravagant postcolonialism" represent less a departure from than a continuation and evolution of modernism.
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• PrefaceIntroduction1. Divorcing the Rural2. Midlife Crisis and Misogynist Rhetoric3. Utopia or Dystopia?4. What Quality Do Chinese Wives Lack?5. Seeking Second Chances in a Risk Society6. A New Divorce CultureAppendix 1Appendix 2NotesBibliographyIndex.
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As state control of private life in China has loosened since 1980, citizens have experienced an unprecedented family revolution-an overhaul of family structure, marital practices, and gender relationships. While the nuclear family has become a privileged realm of romance and individualism symbolizing the post-revolutionary "freedoms" of economic and affective autonomy, women's roles in particular have been transformed, with the ideal "iron girl" of socialism replaced by the feminine, family-oriented "good wife and wise mother." Problems and contradictions in this new domestic culture have been exposed by China's soaring divorce rate. Reading popular "divorce narratives" in fiction, film, and TV drama, Hui Faye Xiao shows that the representation of marital discord has become a cultural battleground for competing ideologies within post-revolutionary China. While these narratives present women's cultivation of wifely and maternal qualities as the cure for family disintegration and social unrest, Xiao shows that they in fact reflect a problematic resurgence of traditional gender roles and a powerful mode of control over supposedly autonomous private life.
(source: Nielsen Book Data)