• List of Contributors Introduction Susan Sherratt and John Bennet
• 1 Homer, the Moving Target Anthony Snodgrass
• 2 The Will to Believe: why Homer Cannot be `True' in any Meaningful Sense Oliver Dickinson
• 3 Dream and Reality in the Work of Heinrich Schliemann and Manfred Korfmann Johannes Haubold
• 4 Homeric Epic and Contexts of Bardic Creation Susan Sherratt
• 5 Remembering and Forgetting Nestor: Pylian Pasts Pluperfect? Jack L. Davis and Kathleen M. Lynch, with a contribution by Susanne Hofstra
• 6 In the Grip of their Past? Tracing Mycenaean Memoria Diamantis Panagiotopoulos
• 7 Heroes in Early Iron Age Greece and the Homeric Epics Alexander Mazarakis Ainian
• 8 Gilgamesh and Heroes at Troy: Myth, History and Education in the Invention of Tradition Stephanie Dalley
• 9 History and the Making of South Slavic Epic Margaret H. Beissinger
• 10 'The National Epic of the Modern Greeks'? - Digenis Akritis, the Homeric Question, and the Making of a Modern Myth Roderick Beaton
• /Gilgamesh at Troy (a very short epic) Paul Halstead.
• (source: Nielsen Book Data)

The relationship between the Homeric epics and archaeology has long suffered mixed fortunes, swinging between 'fundamentalist' attempts to use archaeology in order to demonstrate the essential historicity of the epics and their background, and outright rejection of the idea that archaeology is capable of contributing anything at all to our understanding and appreciation of the epics. Archaeology and the Homeric Epic concentrates less on historicity in favour of exploring a variety of other, perhaps sometimes more oblique, ways in which we can use a multi-disciplinary approach - archaeology, philology, anthropology and social history - to help offer insights into the epics, the contexts of their possibly prolonged creation, aspects of their 'prehistory', and what they may have stood for at various times in their long oral and written history. The effects of the Homeric epics on the history and popular reception of archaeology, especially in the particular context of modern Germany, is also a theme that is explored here. Contributors explore a variety of issues including the relationships between visual and verbal imagery, the social contexts of epic (or sub-epic) creation or re-creation, the roles of bards and their relationships to different types of patrons and audiences, the construction and uses of 'history' as traceable through both epic and archaeology and the relationship between 'prehistoric' (oral) and 'historical' (recorded in writing) periods. Throughout, the emphasis is on context and its relevance to the creation, transmission, re-creation and manipulation of epic in the present (or near-present) as well as in the ancient Greek past.
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• 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.
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• 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.
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• 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)

• EM Series Preface Preface: A Confluence of Beginnings Acknowledgements Notes on Language Part I. Program Notes
• 1. Introduction: Abidjan USA
• 2. "Ballet" as Nexus of Discourses Part II. Stages and Stories Act I. Vado Diomande
• 3. Kekene: the Performance of Oneness in NYC
• 4. "If you aren't careful, you don't know where you will end up!": Vado Diomande and Transcendence Act II. Samba Diallo
• 5. "Culture brings everybody together": Samba Diallo's Ayoka
• 6. "I'm happy because I'm different": Samba Diallo and Exceptionalism Act III. Sogbety Diomande
• 7. "You know you're in a different country": Sogbety Diomande's West African Drum and Dance
• 8. "When you're in a new context, you try things that work in that context": Sogbety Diomande and Adaptability Act IV. Dr. Djo Bi Irie Simon
• 9. "Open Village": An Ivorian Wedding in an Indiana Cornfield
• 10. "Everyone is a cook, but he's a chef!": Dr. Djo Bi and Innovation
• 11. Thoughts on the Way Out Glossary Notes Bibliography Index.
• (source: Nielsen Book Data)

Daniel B. Reed integrates individual stories with the study of performance to understand the forces of diaspora and mobility in the lives of musicians, dancers, and mask performers originally from Cote d'Ivoire who now live in the United States. Through the lives of four Ivorian performers, Reed finds that dance and music, being transportable media, serve as effective ways to understand individual migrants in the world today. As members of an immigrant community who are geographically dispersed, these performers are unmoored from their place of origin and yet deeply engaged in presenting their symbolic roots to North American audiences. By looking at performance, Reed shows how translocation has led to transformations on stage, but he is also sensitive to how performance acts as a way to reinforce and maintain community. Abidjan USA provides a multifaceted view of community that is at once local, national, and international, and where identity is central, but transportable, fluid, and adaptable.
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• 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)

• PrefaceAcknowledgmentsIntroduction1. Re-inking the Nation: Jackie Ormes's Black Cultural Front Comics2. Black Cat Got Your Tongue?: Catwoman, Blackness, and Postracialism3. African Goddesses, Mixed-Race Wonders, and Baadasssss Women: Black Women as "Signs" of African in US Comics4. Anime Dreams for African Girls: Nadia: The Secret of Blue Water5. Where I'm Coming From: Black Female Artists and Postmodern ComixConclusion: Comic Book Divas and the Making of Sequential Subjects NotesIndex.
• (source: Nielsen Book Data)

Black Women in Sequence takes readers on a search for women of African descent in comics subculture. From the 1971 appearance of the Skywald Publications character "the Butterfly" - the first Black female superheroine in a comic book - to contemporary comic books, graphic novels, film, manga, and video gaming, a growing number of Black women are becoming producers, viewers, and subjects of sequential art. As the first detailed investigation of Black women's participation in comic art, Black Women in Sequence examines the representation, production, and transnational circulation of women of African descent in the sequential art world. In this groundbreaking study, which includes interviews with artists and writers, Deborah Whaley suggests that the treatment of the Black female subject in sequential art says much about the place of people of African descent in national ideology in the United States and abroad. For more information visit the author's website: http://www.deborahelizabethwhaley.com/#!black-women-in-sequence/ c65q.
(source: Nielsen Book Data)

• Cover; Title; Contents; Acknowledgments; Introduction. Neocolonialism's Bounty: From Arrival to New Memory; 1 Loss: Mapping Cultural Migrations; 2 Reclamation: Embodying Ritual and Allegory; 3 Fracture: Defining Latinidades at Home; 4 New Memory: Writing Neocolonialism's End; Conclusion. Cultural Memory and Belonging in Chicana/o and Latina/o Fiction; Notes; Works Cited; Index.

In this new study, Ylce Irizarry moves beyond literature that prioritizes assimilation to examine how contemporary fiction depicts being Cuban, Dominican, Mexican, or Puerto Rican within Chicana/o and Latina/o America. Irizarry establishes four dominant categories of narrative--loss, reclamation, fracture, and new memory--that address immigration, gender and sexuality, cultural nationalisms, and neocolonialism. As she shows, narrative concerns have moved away from the weathered notions of arrival and assimilation. Contemporary Chicana/o and Latina/o literatures instead tell stories that have little, if anything, to do with integration into the Anglo-American world. The result is the creation of new memory. This reformulation of cultural membership unmasks the neocolonial story and charts the conscious engagement of cultural memory. It outlines the ways contemporary Chicana/o and Latina/o communities create belonging and memory of their ethnic origins. An engaging contribution to an important literary tradition, Chicana/o and Latina/o Fiction privileges the stories Chicanas/os and Latinas/os remember about themselves rather than the stories of those subjugating them.
(source: Nielsen Book Data)

• Introduction
• Cultural policy as negotiation of power: the Chinese state's role and strategies in its tug-of-war with global Hollywood
• The debate about Hollywood
• The film industry as negotiation of space
• Artistic and critical cinema under a triple threat: marketization, Hollywoodization, and state censorship
• Chinese martial arts cinema in the twenty-first century: hybridity and soft power
• Conclusion: the Chinese state, Hollywood, and postsocialist modernity.

In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America. In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship. This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates - on- and offscreen - over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.
(source: Nielsen Book Data)

• Cover ; Title ; Half Title ; Dedicated ; Copyright ; Contents ; FOREWORD BY ROBB FLYNN OF MACHINE HEAD ; INTRODUCTION; 1 WHAT EVIL LURKS 1948-1969 ; 2 HEAVY METAL'S YEAR ZERO 1970 ; 3 SNOWBLIND 1971-1978; 4 HELL'S MADMEN 1979-1981 ; 5 REBIRTH AND DEATH 1982-1983 ; 6 SEVENTH SONS 1984-1990 ; 7 CALM BEFORE THE STORM 1991-1996 ; Mad Sabbath; 8 THE RETURN 1996-2005 ; 9 LUCKY NUMBERS 2006-2016 ; Black Sabbath Line-ups ; Discography; Photo Credits ; Index; A ; B ; C ; D ; E ; F ; G ; H ; I ; J ; L ; M ; N ; O ; P ; R ; S ; T ; U ; W ; Y ; Z ; Acknowledgments; About the Author.

They are the band that created metal music . . . and they have defined it for more than four decades. Black Sabbath's career spans eleven different line-ups and nineteen studio albums in addition to the twenty-eight solo albums of the original four members. The band began in 1968 as a blues rock band on the cover circuit of Birmingham, England. Clawing their way up from the postwar bombed-out suburbs of Birmingham, the four members - guitarist and main songwriter Tony Iommi, bassist and main lyricist Geezer Butler, singer Ozzy Osbourne, and drummer Bill Ward - would define a new genre of music and make themselves world famous. Joel McIver explores the complete history of Sabbath, from the precursor bands to the release of the holy trinity of heavy metal - "Black Sabbath" (the song) on Black Sabbath (the album) by Black Sabbath (the band) - to the present. With over 150 photos, a gatefold family tree tracing the development of the band, a complete discography, and a foreword by Machine Head frontman Robb Flynn, this is the must-have book for any Sabbath fan.
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• A farewell to David Bowie
• What David Bowie was up to. The actor tells the truth / George A. Reisch
• You don't have to be stupid to be cool / Thorsten Botz-Bornstein
• The flux of it all / Theodore G. Ammon
• Warm impermanence / Randall E. Auxier
• Soundings of Bowie. Squawking like a pink monkey bird -- What? / Greg Littmann
• Bowie the Buddhist / Martin Muchall
• David Bowie, political philosopher? / R. Kevin Hill
• The babe with the power / Nicolas Michaud
• The Bowie identity. When Jumpin' Jack Flash met Ziggy Stardust / Randall E. Auxier
• David Bowie and death / Michael Potter and Cam Cobb
• Meeting the monstrous self / Jerry Piven
• David Bowie's sincerity / Anneliese Cooper
• Out of Bowie's mind. The madness of the musician / Mathew Lampert
• David Bowie's sadness / Chris Ketcham
• Aladdin sane or cracked actor? / Simon Riches and Andrew Watson.

The philosophically rich David Bowie is an artist of wide and continuing influence. The theatrical antics of Bowie ushered in a new rock aesthetic, but there is much more to Bowie than mere spectacle. The visual belies the increasing depths of his concerns, even at his lowest personal moments. We never know what lies in store in a Bowie song, for there is no point in his nearly 30 albums at which one can say, "That's typical Bowie!" Who else has combined techno and hard rock, switched to R&B love songs (with accompanying gospel) to funk to jazz-rock fusion and back again? Among the topics explored in David Bowie and Philosophy are the nature of Bowie as an institution and a cult; Bowie's work in many platforms, including movies and TV; Bowie's spanning of low and high art; his relation to Andy Warhol; the influence of Buddhism and Kabuki theater; the recurring theme of Bowie as a space alien; the dystopian element in Bowie's thinking; the role of fashion in Bowie's creativity; the aesthetics of theatrical rock and glam rock; and Bowie's public identification with bisexuality and his influence within the LGBTQ community.
(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)

• Acknowledgments Introduction: Late Modernism and the Outward Turn
• 1. The Last Snapshot of the British Intelligentsia: Documentary, Mass-Observation, and the Fate of the Liberal Avant-Garde
• 2. The Historical Novel at History's End
• 3. Late Modernism's Geopolitical Imagination: Everyday Life in the Global Hot Zones
• 4. War Gothic
• 5. "It is de age of colonial concern": Vernacular Fictions and Political Belonging Epilogue: "Appointments to keep in the past" Notes Bibliography Index.
• (source: Nielsen Book Data)

In 1935, the English writer Stephen Spender wrote that the historical pressures of his era should "turn the reader's and writer's attention outwards from himself to the world." Combining historical, formalist, and archival approaches, Thomas S. Davis examines late modernism's decisive turn toward everyday life, locating in the heightened scrutiny of details, textures, and experiences an intimate attempt to conceptualize geopolitical disorder. The Extinct Scene reads a range of mid-century texts, films, and phenomena that reflect the decline of the British Empire and seismic shifts in the global political order. Davis follows the rise of documentary film culture and the British Documentary Film Movement, especially the work of John Grierson, Humphrey Jennings, and Basil Wright. He then considers the influence of late modernist periodical culture on social attitudes and customs, and presents original analyses of novels by Virginia Woolf, Christopher Isherwood, and Colin MacInnes; the interwar travel narratives of W. H. Auden, Christopher Isherwood, and George Orwell; the wartime gothic fiction of Elizabeth Bowen; the poetry of H. D.; the sketches of Henry Moore; and the postimperial Anglophone Caribbean works of Vic Reid, Sam Selvon, and George Lamming. By considering this group of writers and artists, Davis recasts late modernism as an art of scale: by detailing the particulars of everyday life, these figures could better project large-scale geopolitical events and crises.
(source: Nielsen Book Data)

• Introduction. Fact and Fiction: Literary and Scientific Cultures in Germany and Britain Thoughts on a Contentious Relationship Christine Lehleiter PART I Reading: Electricity, Medicine
• 1 Facts Are What One Makes of Them: Constructing the Faktum in the Enlightenment and Early German Romanticism Jocelyn Holland
• 2 The Competing Structures of Signification in Samuel Hahnemann's Homeopathy: Between 18th-century Semiosis and Romantic Hermeneutics Alice Kuzniar PART II Imagining: Botany, Chemistry, Thermodynamics
• 3 "She comes! - the GODDESS!": Narrating Nature in Erasmus Darwin's The Botanic Garden (1791) Ann Shteir
• 4 Elective Affinities / Wahlverwandtschaften: The Career of a Metaphor Christian Weber
• 5 Physics Disarmed: Probabilistic Knowledge in the Works of James Clerk Maxwell and George Eliot Tina Young Choi PART III Sensing: Anthropology, Psychology, Aesthetics
• 6 Herder's Unsettling of the Distinction between Fact and Fiction John K. Noyes
• 7 Fictional Feedback: Empirical Souls and Self-Deception in the Magazine for Empirical Psychology and Beyond Michael House
• 8 Fictional Feelings Psychological Aesthetics and the Paradox of Tragic Pleasure Tobias Wilke PART IV Relating: Biology
• 9 Coining a Discipline: Lessing, Reimarus, and a Science of Religion Stefani Engelstein
• 10 Kin Selection, Mendel's "Salutary Principle, " and the Fate of Characters in Forster's Longest Journey Daniel Aureliano Newman PART V Displaying: Scientific Collections
• 11 Anatomy Collections in and of the Mind: Science, the Body and Language in the Writings of Durs Grunbein and Thomas Hettche Peter M. McIsaac
• 12 Vivifying the Uncanny: Ethnographic Mannequins and Exotic Performers in Nineteenth-Century German Exhibition Culture Dana Weber.
• (source: Nielsen Book Data)

Fact and Fiction explores the intersection between literature and the sciences, focusing on German and British culture between the eighteenth century and today. Observing that it was in the eighteenth century that the divide between science and literature as disciplines first began to be defined, the contributors to this collection probe how authors from that time onwards have assessed and affected the relationship between literary and scientific cultures. Fact and Fiction's twelve essays cover a wide range of scientific disciplines, from physics and chemistry to medicine and anthropology, and a variety of literary texts, such as Erasmus Darwin's poem The Botanic Garden, George Eliot's Daniel Deronda, and Goethe's Elective Affinities. The collection will appeal to scholars of literature and of the history of science, and to those interested in the connections between the two.
(source: Nielsen Book Data)

• 1. "Esau Jacob's Brother": Israel and Edom are Brothers
• 2. Jacob and Esau in the Book of Genesis
• 3. Israel and Edom in the Preexilic Biblical Literature
• 4. "But Esau I Despised": Israel and Edom are Enemies
• 5. Jeremiah's Prophecy against Edom:
• Chapter 49
• 6. Ezekiel's Prophecy against Edom (25:12-14)
• 7. Ezekiel's Prophecy against Edom,
• Chapter 35
• 8. Isaiah's Prophecy against Edom,
• Chapter 34
• 9. Isaiah's Prophecy against Edom,
• Chapter 63
• 10. Obadiah's Prophecy against Edom
• 11. The Prophecy of Malachi, 1:2-5
• 12. The Anti-Edomite Ideology of the Genealogical Lists in 1 Chronicles 1
• 13. Edom and Israel in Rabbinic and Medieval Literature Afterword Bibliography.
• (source: Nielsen Book Data)

No nation has been subjected to a wider range of biblical attitudes and emotions than Edom. In some sources, Edom is perceived as Israel's brother; in many others, the animosity toward Edom is tremendous. The book of Genesis introduces Isaac, his wife Rebecca, and their twin sons, Esau and Jacob. Rivalry between the brothers emerges even before their birth and escalates over the course of their lives. The question of which son should be favored also causes tension in the parents' relationship, and most of the Genesis text concerning Isaac and Rebecca revolves around this issue. The narrative describes the fraternal conflict between Jacob and Esau at length, and many hold that this description is a reflection of the hostility between Edom and Israel. However, the relationship between the brothers is not always depicted as strained. The twofold relationship between the brothers in Genesis--brotherhood and fraternity coupled with hatred and rivalry--introduces a dichotomy that is retained throughout the Hebrew Bible. In this monograph, Assis elucidates the complex relationship between Edom and Israel reflected in the Bible, to attempt to clarify the source of this complexity and the function that this relationship serves in the various biblical texts and Israel's early history. He shows how this relationship plays an important role in the formation of Israel's identity, and how the historical interaction between the nations influenced the people's theological conception, as reflected in prophetic literature, poetry, and biblical narrative.
(source: Nielsen Book Data)

• Preface
• Acknowledgements ; Introduction: Oral Poetics and Cognitive Science ; Repetition in Homeric epic: Cognitive and linguistic perspectives ; From grammar in everyday conversation to special grammar in oral traditions: A case study of ring composition.

• Metaphor as ideology Construction grammar and oral formulaic theory ; Frames and constructions for the study of oral poetics ; Particles as cues to structuring in Serbocroatian and early Greek epic ; The priming act in Homeric epic ; Orality, visualization, and the Historical Mind.

What can oral poetic traditions teach us about language and the human mind? Oral Poetics has produced insights relevant not only for the study of traditional poetry, but also for our general understanding of language and cognition: formulaic style as a product of rehearsed improvisation, the thematic structuring of traditional narratives, or the poetic use of features from everyday speech, among many others. The cognitive sciences have developed frameworks that are crucial for research on oral poetics, such as construction grammar or conversation analysis. The key for connecting the two disciplines is their common focus on usage and performance. This collection of papers explores how some of the latest research on language and cognition can contribute to advances in oral studies. At the same time, it shows how research on verbal art in its natural, oral medium can lead to new insights in semantics, pragmatics, or multimodal communication. The ultimate goal is to pave the way towards a Cognitive Oral Poetics, a new interdisciplinary field for the study or oral poetry as a window to the mind.
(source: Nielsen Book Data)
Oral Poetics has produced insights that are relevant not only for the study of oral traditions, but also for our general understanding of language and cognition. Cognitive Science has developed theories with great potential for research on poetics and oral performance. This book explores how connections between the two disciplines can lead to a Cognitive Oral Poetics, a new field for the study of oral poetry as a window to the mind.
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• 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.
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• Contents and Abstracts1Sonhos d'Ouro chapter abstractThis chapter describes and analyzes the novel Sonhos d'Ouro, by Jose de Alencar. Drawing on literary and social history, the chapter explores the characters and settings in this important novel in order to uncover Alencar's distinctive vision for social integration and the reconciliation of metropolitan wealth and provincial virtue. The character of Guida Soares is shown to represent the caprice and, concomitantly, the latent potential goodness inherent in capital honestly accumulated-- her counterpart, Ricardo Nunes, is understood as Alencar's proxy for a virtuous and idealistic young man from the provinces. Together, their story represents a version of Bildung wherein an alternative mode of social integration is made possible.
• 2Memorias Postumas de Bras Cubas chapter abstractThis chapter explores the novel Memorias Postumas de Bras Cubas, by Joaquim Maria Machado de Assis, from literary and historical perspectives. This reading of the novel, long considered a masterpiece of world literature, emphasizes its relation to the literary field in which it was embedded, within and beyond Brazil, as well as the social historical dimensions of the urban space therein depicted. The novel is placed into context with works by Balzac and Flaubert-extending and modifying previous readings that emphasized its sui generis, Brazilian content. Additionally, the chapter shows how Bras Cubas can be read alongside Sonhos d'Ouro-highlighting the different answers to the problem of social integration provided by Machado de Assis and Jose de Alencar. 3O Coruja chapter abstractThis chapter analyzes the novel O Coruja, by Aluisio Azevedo. A more obscure novel than those discussed in the first two chapters, this work by Azevedo is also read in both literary and social historical perspective, allowing for an exploration of the themes of environmental determinism and social hierarchies in Rio de Janeiro during the 1880s.
• 4Sentimental Educations chapter abstractThis chapter develops an interpretation of the problem of the individual and his or her integration into society. Building upon the foundation laid in the first three chapters, this analysis engages a broader range of novels and focuses on the problem of comportment in social settings. History and social theory combine to offer a reading of nineteenth-century Brazilian novels that highlight the key milestones and challenges associated with the growth and development of fictional protagonists, including the themes of education and career. 5Marriage and Money chapter abstractThis chapter examines the way marriage and money intersected in nineteenth-century Rio de Janeiro as depicted in novels and against a backdrop of social historical data. Using parish records and estate inventories, the analysis shows how the realistic commitments of nineteenth-century authors echoed and reproduced an image of social structure surrounding the critical issues of wealth and family in Rio de Janeiro. 6Problems of Spatial Practice chapter abstractThis chapter reads nineteenth-century novels set in Rio de Janeiro in terms of spatial practices. Through a combination of close and distant reading, novels are shown to contain detailed scripts referring to spatial practices ranging from the open spaces of sociability, such as the street and theater, to the closed spaces of the house. Within these spaces, the disposition and movement of characters is shown to reflect core aspects of social reality and the strategic and tactical maneuverings available to individuals of varied class status, age, and gender.
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Reading Rio de Janeiro blazes a new trail for understanding the cultural history of 19th-century Brazil. To bring the social fabric of Rio de Janeiro alive, Zephyr Frank flips the historian's usual interest in literature as a source of evidence and, instead, uses the historical context to understand literature. By focusing on the theme of social integration through the novels of Jose de Alencar, Machado de Assis, and Aluisio Azevedo, the author draws the reader's attention to the way characters are caught between conflicting moral imperatives as they encounter the newly mobile, capitalist, urban society, so different from the slave-based plantations of the past. Some characters grow and triumph in this setting; others are defeated by it. Though literature infuses this social history of 19th-century Rio, it is replete with maps, graphs, non-fiction sources, and statistical data and analysis that are the historian's stock-in-trade. By connecting a literary understanding of the social problems with the quantitative data traditional historical methods provide, Frank creates a richer and deeper understanding of society in 19th-century Rio.
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• 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.
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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.
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• What's in a Name?
• 'Ask Elaine"
• The Podber Incident
• 'Not a Copy'
• Original Sturtevant
• Risk
• Hank Herron and Pierre Menard
• Redundant Object
• Warhol Marilyn Exit Stage Right
• Endnotes.

An illustrated examination of a work-a Warhol that isn't by Warhol-that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930-2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, "I don't know. Ask Elaine.") In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work. Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's "Pierre Menard, Author of the Quixote, " who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.
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• Part I.
• -- Feminist Publishing/Publishing Feminism : Experimentation in Second-Wave Book Publishing / Jennifer Gilley
• A Revolution in Ephemera : Feminist Newsletters and Newspapers of the 1970s / Agatha Beins
• "What Made Us Think They'd Pay Us for Making a Revolution?" : Women in Distribution (WinD), 1974-1979 / Julie R. Enszen
• Closely, Consciously Reading Feminism / Yung-Hsing Wu
• -- Part II.
• -- "The Element That Shaped Me, That I Shape by Being In" : Alternative Natures in Margaret Atwood's Surfacing and The Edible Woman / Jill E. Anderson
• The Second-Wave Sandbox : Anne Roiphe's Monstrous Motherhood / Lisa Botshon
• Desire and Fantasy in Erica Jong's Fear of Flying / Jay Hood
• Coming Out and Tutor-Text Performance in Jane Chambers's Lesbi-Dramas / Jaime Cantrell
• Creating a Nonpatriarchal Lineage in Bertha Harris's Lover / Lara Christine Godfrey
• The Color Purple and the Wine-Dark Kiss of Death : How a Second-Wave Feminist Wrote the First American AIDS Narrative / Phillip Gordon
• "This Really Isn't a Job for a Girl to Take on Alone" : Reappraising Feminism and Genre Fiction in Sara Paretsky's Crime Novel Indemnity Only / Charlotte Beyer.

The Women's Liberation Movement held a foundational belief in the written word's power to incite social change. In this new collection, Jaime Harker and Cecilia Konchar Farr curate essays that reveal how second-wave feminists embraced this potential with a vengeance. The authors in This Book Is an Action investigate the dynamic print culture that emerged as the feminist movement reawakened in the late 1960s. The works created by women shined a light on taboo topics and offered inspiring accounts of personal transformation. Yet, as the essayists reveal, the texts represented something far greater: a distinct and influential American literary renaissance. On the one hand, feminists took control of the process by building a network of publishers and distributors owned and operated by women. On the other, women writers threw off convention to venture into radical and experimental forms, poetry, and genre storytelling, and in so doing created works that raised the consciousness of a generation. Examining feminist print culture from its structures and systems to defining texts by Margaret Atwood and Alice Walker, This Book Is an Action suggests untapped possibilities for the critical and aesthetic analysis of the diverse range of literary production during feminism's second wave.
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• Introduction: women's human rights as integral to universal human rights
• A philosophical genealogy of women's human rights
• Foundations of universal human rights: Wollstonecraft's rational theology and Mill's liberal utilitarianism
• Theories of human development: Wollstonecraft and Mill on sex, gender and education
• The problem of cultural bias: Wollstonecraft, Mill and western narratives of women's progress
• Human stories: Wollstonecraft, Mill, and the literature of human rights.

How can women's rights be seen as a universal value rather than a Western value imposed upon the rest of the world? Addressing this question, Eileen Hunt Botting offers the first comparative study of writings by Mary Wollstonecraft and John Stuart Mill. Although Wollstonecraft and Mill were the primary philosophical architects of the view that women's rights are human rights, Botting shows how non-Western thinkers have revised and internationalized their original theories since the nineteenth century. Botting explains why this revised and internationalized theory of women's human rights-grown out of Wollstonecraft and Mill but stripped of their Eurocentric biases-is an important contribution to thinking about human rights in truly universal terms.
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• Embodying segregation: Ida B. Wells on the antilynching circuit
• Southernizing travel in the Black Atlantic: Booker T. Washington's The man farthest down
• "To return and tell the tale of the doing": Matthew Henson and the African American explorer's identity
• Cultural work, disorderly mobility, and the mundane realities of travel: Jessie Redmon Fauset and the crisis
• Bodies of knowledge: cultural authority and black female mobility in Zora Neale Hurston's Tell my horse.

• 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.
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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.
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• New wave cineaste to digital gleaner : change and continuity in the work of Agnes Varda
• Planning and precision : La pointe courte
• Structure and digression : the early short documentaries
• Cultivating the new wave spectator : Cleo from 5 to 7
• Improvisation and formal patterning : Vagabond
• Social criticism and the self-portrait : The gleaners and I
• From cinema to the gallery : Patatutopia and L'île et elle
• Looking backward, moving forward : The beaches of Agnes
• Conclusion
• Interview.

Both a precursor to and a critical member of the French New Wave, Agnes Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and aficionados have celebrated Varda's independence and originality since the New Wave touchstone Cleo from 5 to 7 (1962) brought her a level of international acclaim she has yet to relinquish. Film historian Kelley Conway traces Varda's works from her 1954 debut La Pointe Courte through a varied career that includes nonfiction and fiction shorts and features, installation art, and the triumphant 2008 documentary The Beaches of Agnes . Drawing on Varda's archives and conversations with the filmmaker, Conway focuses on the concrete details of how Varda makes films: a project's emergence, its development and the shifting forms of its screenplay, the search for financing, and the execution from casting through editing and exhibition. In the process, she departs from film history's traditional view of the French New Wave and reveals one artist's nontraditional trajectory through independent filmmaking. The result is an intimate consideration that reveals the artistic consistencies and bold changes in the career of one of the world's most exuberant and intriguing directors.
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• Introduction: D.H. Lawrence, Americano
• "Hands-up, America!": Studies in Classic American literature
• "Under our home eye": Lawrence and American modernism
• "Tales of out here": "St. Mawr, " "The princess, " and "The woman who rode away"
• Conclusion. Wilful women: Lawrence's three fates and Georgia O'Keeffe.

Although he is frequently perceived as a distinctly English author, in this study D. H. Lawrence is reevaluated as a creator and critic of American literature as well. From 1922-1925, during his "savage pilgrimage" in Mexico and New Mexico, he completed the core of what this book terms his "American oeuvre"-including his major volume of criticism, Studies in Classic American Literature. Lee Jenkins portrays Lawrence as a transatlantic writer whose significant body of work embraces and adapts both English and American traditions and innovations. The American Lawrence looks at the modernist writer's experiences in the Americas and his fascination with indigenous culture. It illustrates how Lawrence played an important role in the formation of American literary criticism and the American literary canon. It also shows how Lawrence creatively employs the generic conventions of classic American fiction in his own work. Reassessing Lawrence's relationship to American modernism and his American literary contemporaries, Jenkins offers new insights into the literary exchange between America and Europe.
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• Cover; Title Page; Copyright; Contents; Foreword; Acknowledgments; Introduction; Regional Blues; Part I Chicago; Freddie King; Jimmy Walker; Louis Myers; James Cotton; Red Holloway; Fred Below; The Old Swing-Masters:; Moody Jones; Floyd Jones; Snooky Pryor; Postscript; Part II Detroit; Baby Boy Warren; Big Maceo; Walter Mitchell; LC Green; Part III St. Louis; Jimmy Thomas; Joe Dean; Sparks Brothers; Fontella Bass; Part IV Mississippi; Arthur "Big Boy" Crudup; Louise Johnson; Part V Texas; Juke Boy Bonner; Dr. Hepcat; Albert Collins; Part VI West Coast; Johnny Otis; Roy Brown.

• Part VII Record MenHenry Glover; Ralph Bass; Index.

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.
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• 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.

• CONTENTS Abbreviations List of illustrations List of Maps INTRODUCTION Francesco Zappa: Professori emerito Claudio Gilliot Latina dedicatio Roberto Tottoli, Andrew Rippin: Claude Gilliot, a biographical sketch AUTHORS Emilio Platti: Criteria for authenticity of prophecy in 'Abd al-Masih al-Kindi's Risala Michael Lecker: Muhammad b. Ishaq sahib al-maghazi: was his grandfather Jewish? Pierre Larcher: Les Ma'ani al-Qur'an d'al-Farra' ou la theologie temperee par la philologie Andrew Rippin: Al-Mubarrad (d. 285/898) and polysemy in the Qur'an Abdallah Cheikh-Moussa: Abu Hayyan al-Tawhidi, l'arabe et le Bedouin Walid Saleh: The Hashiya of Ibn al-Munayyir (d. 683/1284) on al-Kashshaf of al-Zamakhshari Roberto Tottoli: New light on the translation of the Qur'an of Ludovico Marracci from his manuscripts recently discovered at the Order of the Mother of God in Rome
• GENRES Mehdi Azaiez: Le contre-discours coranique et la construction d'une figure de l'opposant Anne-Sylvie Boisliveau: Presentation coranique des messages prophetiques anciens : l'attitude de kufr denoncee Angelika Neuwirth: Locating the Qur'an in the epistemic space of Late Antiquity Tilman Nagel: Wirkende Worte: Das Hadith und die Metaphysik Reinhart Weipert: Gedanken zur Charakteristik der arabischen gnomischen Poesie der fruhen Abbasidenzeit Mohammad Ali Amir-Moezzi: Ecrire le secret sans le reveler. Remarques sur le vocabulaire technique de la poesie mystique persane Denis Gril: Ibn Abi l-Isba' al-Misri et son traite sur le debut des sourates
• TRADITIONS Manfred Kropp: Lisan 'arabiyy mubin - "klares Arabisch"? oder: "offenbar Arabisch", gar "geoffenbartes Arabisch"? Uri Rubin: More light on Muhammad's pre-existence: Qur'anic and post-qur'anic perspectives Jan van Reeth: La presentation du Prophete au Temple Jane Dammen McAuliffe: Connecting Moses and Muhammad Jean-Louis Declais: Moise et le rocher de la querelle. De la Bible aux recits musulmans Harald Motzki: Ibrahim, Umm Isma'il and Isma'il at Mecca: A Contribution to the Problem of dating Muslim Traditions.
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In celebration of the many contributions of Claude Gilliot to Islamic studies, an international group of twenty-one friends and colleagues join together to explore books and written culture in the Muslim world. Divided into three sections - authors, genres and traditions - the essays explore themes that have been of central interest and concern to Gilliot himself including the Qur'an, tafsir, hadith, poetry, and mysticism. Gilliot's detailed and extensive work on many authors and texts, literary genres, and specific case-studies on many Muslim traditions renders this volume an apt tribute to him as well as offering Islamic studies' scholars valuable research insights on these subjects. The authors of these English, French and German essays are all renowned scholars from Europe and North America, each of whom have benefitted substantially from Gilliot's work and collegiality. With contributions by: Mohammad Ali Amir-Moezzi, Mehdi Azaiez, Anne-Sylvie Boisliveau, Abdallah Cheikh-Moussa, Jean-Louis Declais, Denis Gril, Manfred Kropp, Pierre Larcher, Michael Lecker, Jane Dammen McAuliffe, Harald Motzki, Tilman Nagel, Angelika Neuwirth, Emilio Platti, Jan van Reeth, Andrew Rippin, Uri Rubin, Walid Saleh, Roberto Tottoli, Reinhard Weipert, Francesco Zappa.
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• I. Bound in slavery
• II. Bound in freedom.

Winner of the Elizabeth Agee Prize in American Literature In Bound to Respect: Antebellum Narratives of Black Imprisonment, Servitude, and Bondage, 1816-1861, Keith Michael Green examines key texts that illuminate forms of black bondage and captivity that existed within and alongside slavery. In doing so, he restores to antebellum African American autobiographical writing the fascinating heterogeneity lost if the historical experiences of African Americans are attributed to slavery alone. The book's title is taken from the assertion by US Supreme Court chief justice Roger B. Taney in his 1857 Dred Scott decision that blacks had no rights that whites were "bound to respect." This allusion highlights Green's critical assertion that the dehumanizing absurdities to which defenders of slavery resorted to justify slavery only brought into more stark relief the humanity of African Americans. A gifted storyteller, Green examines four forms of captivity: incarceration, enslavement to Native Americans, child indentured servitude, and maritime capture. By illuminating this dense penumbra of captivity beyond the strict definitions of slavery, he presents a fluid and holistic network of images, vocabulary, narratives, and history. By demonstrating how these additional forms of confinement flourished in the era of slavery, Green shows how they persisted beyond emancipation, in such a way that freed slaves did not in fact partake of "freedom" as white Americans understood it. This gap in understanding continues to bedevil contemporary American society, and Green deftly draws persuasive connections between past and present. A vital and convincing offering to readers of literary criticism, African American studies, and American history, Green's Bound to Respect brings fresh and nuanced insights to this fundamental chapter in the American story.
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• PrefaceAcknowledgmentsIntroduction: Looking for the Dead1. Lyric Mourning2. Archiving the Dead3. Visions of Loss4. Epistles to the DeadConclusionTallying LossNotesIndex.
• (source: Nielsen Book Data)

His world view colored by growing up in 1980s Ethiopia, where death governed time and temperament, Dagmawi Woubshet offers a startlingly fresh interpretation of melancholy and mourning during the early years of the AIDS epidemic in The Calendar of Loss. When society denies a patient's disease and then forbids survivors mourning rites, how does a child bear witness to a parent's death or a lover grieve for his beloved? Looking at a range of high and popular works of grief-including elegies, eulogies, epistles to the dead, funerals, and obituaries-Woubshet identifies a unique expression of mourning that emerged in the 1980s and early 1990s in direct response to the AIDS catastrophe. What Woubshet dubs a "poetics of compounding loss" expresses what it was like for queer mourners to grapple with the death of lovers and friends in rapid succession while also coming to terms with the fact of their own imminent mortality. The time, consolation, and closure that allow the bereaved to get through loss were for the mourners in this book painfully thwarted, since with each passing friend, and with mounting numbers of the dead, they were provided with yet more evidence of the certain fatality of the virus inside them. Ultimately, the book argues, these disprized mourners turned to their sorrow as a necessary vehicle of survival, placing open grief at the center of art and protest, insisting that lives could be saved through the very speech acts precipitated by death. An innovative and moving study, The Calendar of Loss illuminates how AIDS mourning confounds and traverses how we have come to think about loss and grief, insisting that the bereaved can confront death in the face of shame and stigma in eloquent ways that also imply a fierce political sensibility and a longing for justice.
(source: Nielsen Book Data)

• 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)

• Frank O. Gehry : The balance between form and colour / Erik Mattie ; Collage of form and colour: Museum of Biodiversity, Panama ; Bend and fold colour: New World Symphony, Miami ; Colour of the mind: Lou Ruvo Center for Brain Health, Las Vegas
• Jean Nouvel : Images in colour / Sophie Roulet ; Coloured depths: Agbar Tower, Barcelona ; Vivid red colour: Serpentine Pavilion, London ; Lantern magic: Concert Hall, Copenhagen ; A vibrant red line: The red kilometer, Bergamo
• Wang Shu : Translating tradition for modern times / Bert de Muynck ; Old and beautiful material: Historic Museum, Ningbo ; Traditional Chinese garden: Park Pavilion, Jinhua ; Architecture needs time to change: China Academy of Art, Hangzhou ; Meditation and poetry: Wa Shan Guesthouse, Hangzhou ; Colour in perspective: Vision and perception / by Erik Mattie
• BIG: Light blue texture: Danish Pavilion, EXPO 2010, Shanghai ; Colour coded master plan: Superkilen Urban Park, Copenhagen
• Stefano Boeri : Glass and basalt prism: complex of buildings at La Maddalena, Sardinia
• Zaha Hadid : Suspended black: MAXXI Museum, Rome
• Herzog & de Meuron : Many shades of green: 28 condominiums at 40 Bond Street, New York
• Steven Holl Architects : Open colour: Linked hybrid apartment complex, Beijing
• Toyo Ito : Polished painted colour: Mikimoto Ginza 2, Tokyo
• Lui Jiakun : Favourite colour pink: Hu Huishan Earthquake Memorial, Sichuan
• Michael Malzan Architecture : Rhythm of light and shadow: New Carver Apartments, Los Angeles ; Texture, form, light and colour: Inner City Arts Campus, Los Angeles
• Giancarlo Mazzanti : Interrelated colour: Timayui School, Santa Marta
• Enric Ruiz-Geli, Cloud 9 : Transparent colour: Media Tic Building, Barcelona
• SANAA : Bright golden colour: Derek Lam Store, New York.

Color is inextricably linked with architecture; as a design element and also as an inherent quality, it characterizes the shape and texture of the built fabric. This book presents extraordinary color schemes, both in terms of technology and aesthetics, for ground-breaking architecture with a wide spectrum of functions: from apartment to concert hall, from flagship store to city park. The focus is on the works of the three architects Frank O. Gehry, Jean Nouvel and Wang Shu. This is expanded by the works of other practices such as BIG, Zaha Hadid, Herzog & de Meuron, Toyo Ito and SANAA. This publication presents a compendium that documents color schemes in architecture in the context of very different aesthetic approaches. The large-format photographs by Iwan Baan, Christian Richters, Roland Halbe and Philippe Ruault fascinate with their clarity and presence.

• Acknowledgements List of Contributors List of Figures List of Abbreviations Introduction Daisy Delogu, Joan E. McRae, and Emma Cayley
• SECTION 1
• CHARTIER IN HIS CULTURAL, LITERARY, AND MATERIAL CONTEXT
• 1. Alain Chartier: A Historical and Biographical Overview James Laidlaw
• 2. Alain Chartier's Singularity, Or How Sources Make an Author Andrea Tarnowski
• 3. The Bilingual Chartier: Authorial Duality and Identity in the French and Latin uvre of Alain Chartier Emma Cayley with the collaboration of HannoWijsman
• 4. The Illuminated Manuscripts of the Works of Alain Chartier Camille Serchuk
• SECTION 2
• APPROACHES TO CHARTIER
• 5. Performance and Polemic: Gender and Emotion in the Works of Alain Chartier Daisy Delogu
• 6. Alain Chartier and Chivalry: Debating Knighthood in the Context of the Hundred Years War Craig Taylor
• 7. Alain Chartier, Political Writer Jean-Claude Muhlethaler
• SECTION 3
• TEXTUAL COMMUNITIES
• 8. "Que tous se rallient": Alain Chartier, Pierre de Nesson, and the Poetics of Peace Deborah McGrady
• 9. A Community of Readers: The Quarrel of the Belle Dame sans mercy Joan McRae
• 10. The Manuscript and the Print Tradition Liv Robinson
• SECTION 4
• CHARTERIAN INFLUENCE
• 11. Alain Chartier and Medieval Catalan Literature Marta Marfany
• 12. Chartier's European Influence Ashby Kinch
• 13. Alain Chartier and the Rhetoriqueurs Adrian Armstrong
• 14. A Good Carter as Guide: Imitating Alain Chartier (15th century - early 17th century) Florence Bouchet Bibliography Index.
• (source: Nielsen Book Data)

A Companion to Alain Chartier: Father of French Eloquence brings together fourteen contributions that offer a range of perspectives and insights into the works of this exceptional late medieval author. As heir to the past and herald of the future, Chartier reinvented the traditional, whether in Latin or French, verse or prose. Chartier's open-ended, dialogic works and his own politically-engaged writing inspired his successors to think and write in new ways about ethics, the individual's role in society, relationships between men and women, and the responsibility of a poet to his/her audience. As these essays show, Chartier's renovation of poetic form and content had considerable influence over successive generations of writers in France and across Europe. Contributors are: Adrian Armstrong, Florence Bouchet, Emma Cayley, Daisy Delogu, Ashby Kinch, James C. Laidlaw, Marta Marfany, Deborah McGrady, Joan E. McRae, Jean-Claude Muhlethaler, Liv Robinson, Camille Serchuk, Andrea Tarnowski, Craig Taylor, and Hanno Wijsman.
(source: Nielsen Book Data)

• List of Illustrations
• Introduction
• Hearing, Reading, and Remembering James Welch (1940-2003) Kathryn W. Shanley Interview
• Owen Perkins Interview
• Cindy Heidemann Interview
• From James Welch's The Marseille Grace
• On Researching Marseille Grace/Heartsong, 1994-96
• Lois M. Welch Welch Relations: Uncovering the History, Recovering the Story
• John Purdy Reprinted Essays "A World Away from His People": James Welch's The Heartsong of Charging Elk and the Indian Historical Novel
• James J. Donahue Ghost Dance Literature: Spectrality in Heartsong
• Ulla Haselstein Tribal or Transnational? Memory, History, and Identity in Heartsong
• Hans Bak Original Essays The Unexpected Indian in Heartsong
• Amanda Cobb-Greetham "Looking for the Way Back": Displacement, Diaspora, and Desire in Heartsong
• Kathryn W. Shanley Issues of Identity
• Arnold Krupat The Fatal Blow Job
• Craig Womack History, Language, and Culture in Heartsong
• Arnold Krupat Native Presence and Survivance in Heartsong
• James Ruppert Contributors.
• (source: Nielsen Book Data)

James Welch was one of the central figures in twentieth-century American Indian literature, and The Heartsong of Charging Elk is of particular importance as the culminating novel in his canon. A historical novel, Heartsong follows a Lakota (Sioux) man at the end of the nineteenth century as he travels with Buffalo Bill's Wild West show; is left behind in Marseille, France; and then struggles to overcome many hardships, including a charge for murder. In this novel Welch conveys some of the lifeways and language of a traditional Sioux. Here for the first time is a literary companion to James Welch's Heartsong that includes an unpublished chapter of the first draft of the novel; selections from interviews with the author; a memoir by the author's widow, Lois Welch; and essays by leading scholars in the field on a wide range of topics. The rich resources presented here make this volume an essential addition to the study of James Welch and twentieth-century Native American literature.
(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)

• Dream description and visual experience in Latin poetry
• Fantasy and creativity in Tibullus
• Transforming the lover: nightmare, commentary, and image in Propertius
• The visual dreamscape of Propertius
• Sleeper's dream/viewer's image: Rhea Silvia's dream in Ovid's Fasti book.

The elegists, ancient Rome's most introspective poets, filled their works with vivid, first-person accounts of dreams. Dream, Fantasy, and Visual Art in Roman Elegy examines these varied and visually striking textual dreamscapes, arguing that the poets exploited dynamics of visual representation to allow readers to share in the intensely personal experience of dreaming. By treating dreams as a mode for viewing, an analogy suggested by diverse ancient authors, Emma Scioli extracts new information from the poetry of Propertius, Tibullus, and Ovid about the Roman concept of "seeing" dreams. Through comparison with other visual modes of description, such as ekphrasis and simile, as well as with related types of visual experience, such as fantasy and voyeurism, Scioli demonstrates similarities between artist, dreamer, and poet as creators, identifying the dreamer as a particular type of both viewer and narrator.
(source: Nielsen Book Data)

• Acknowledgements Note to Readers Introduction
• 1. A Biblical Story, for the Post-World-War II Generation?: Victor Young's Music for DeMille's Samson and Delilah
• 2. Turning Away from "Concocted Spectacle": Alfred Newman's Score for David and Bathsheba
• 3. Spectacle and Authenticity in Miklos Rozsa's Quo Vadis Score
• 4. Novel and Film, Music and Miracle: Alfred Newman's Score to The Robe
• 5. Spirit and Empire: Elmer Bernstein's Score to The Ten Commandments
• 6. The Law of Genre and the Music for Ben-Hur
• 7. King of Kings and the Problem of Repetition
• 8. Suoni nuovi, suoni antichi: The Soundscapes of Barabbas
• 9. Universality, Transcendence, and Collapse: Music and The Greatest Story Ever Told Epilogue Notes Bibliography Index.
• (source: Nielsen Book Data)

Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.
(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.

• Cover; Title Page; Copyright; Contents; Acknowledgments; Introduction; Part I: Writing Publics (Publics and Nation);
• 1. States, Nations, and Publics: The Politics of Language Reform in Renaissance England;
• 2. Translating the Law: Sir Edward Coke and the Formation of a Juristic Public;
• 3. Apocalyptics and Apologetics: Richard Helgerson on Elizabethan England's Religious Identity and the Formation of the Public Sphere; Part II: Forming Social Identities and Publics;
• 4. Perverse Delights: Cross Channel Trash Talk and Identity Publics;
• 5. Making Public the Private.

• 6. Public and Private Intercourse in Dutch Genre Scenes: Soldiers and Enigmatic Women / Painters and Enigmatic Paintings7. Sonnets from Carthage, Ballads from Prison: Entertainment and Public Making in Early Modern Spain; Part III: Networks and Publics;
• 8. Forms of Nationhood and Forms of Publics: Geography and Its Publics in Early Modern England;
• 9. "The Land Speaks": John Shrimpton's Antiquities of Verulam and St. Albans and the Making of Verulamium;
• 10. Collectors, Consumers, and the Making of a Seventeenth-Century English Ballad Public: From Networks to Spheres.

• 11. Forms of Internationality: The Album Amicorum and the Popularity of John Owen (1564-1622)Part IV: Theatrical Publicity;
• 12. The Voice of Caesar's Wounds: The Politics of Martyrdom in Shakespeare's Julius Caesar;
• 13. Shakespeare's Pains to Please;
• 14. The Political Fortunes of Robin Hood on the Early Modern Stage; Afterword: Richard Helgerson and Making Publics; About the Contributors; Index; Back Cover.

• Illustrations; Preface; A Note on Translations and Editions; Introduction: Unthinking Fanon: Worlds, Legacies, Politics;
• 1: Martinique;
• 2: France;
• 3: Black Skin, White Masks;
• 4: Algeria;
• 5: Tunisia;
• 6: The Wretched of the Earth; Conclusion: Transcending the Colonial Unconscious; Notes; Bibliography; Index.

Psychiatrist, philosopher, and revolutionary, Frantz Fanon is one of the most important intellectuals of the twentieth century. He presented powerful critiques of racism, colonialism, and nationalism in his classic books, Black Skin, White Masks (1952) and The Wretched of the Earth (1961). This biography reintroduces Fanon for a new generation of readers, revisiting these enduring themes while also arguing for those less appreciated-namely, his anti-Manichean sensibility and his personal ethic of radical empathy, both of which underpinned his utopian vision of a new humanism. Written with clarity and passion, Christopher J. Lee's account ultimately argues for the pragmatic idealism of Frantz Fanon and his continued importance today.
(source: Nielsen Book Data)

• Machine generated contents note: 1. Mickey in a Magazine
• 2. Oskar Lebeck Meets Walt Kelly
• 3. Whitman, K.K., and Dell
• 4. Learning on the Job in L.A.
• 5. Feel for Walt Kelly's Stuff
• 6. Animal Magnetism
• 7. Cartoon Conundrums
• 8. Carl Barks Makes His Break
• 9. Barks Becomes the Duck Man
• 10. Workman: Gaylord DuBois
• 11. Observer: John Stanley
• 12. "I Am a Backwoods Bumpkin"
• 13. "Pure Corn" at Disney's
• 14. Special Talents
• 15. Barks Masters His Medium
• 16. Arena for All the Passions
• 17. Animal Kingdoms
• 18. Walt Kelly Branches Out
• 19. Strong-Handed Friends
• 20. Carl Barks: The Virtuoso
• 21. Walt Kelly Escapes
• 22. Oskar Lebeck in Exile
• 23. Manifest Destiny
• 24. Uncle Scrooge: Play Money
• 25. Carl Barks in Purgatory
• 26. Slow Fade
• 27. Disasters.

Funnybooks is the story of the most popular American comic books of the 1940s and 1950s, those published under the Dell label. For a time, "Dell Comics Are Good Comics" was more than a slogan - it was a simple statement of fact. Many of the stories written and drawn by people like Carl Barks (Donald Duck, Uncle Scrooge), John Stanley (Little Lulu), and Walt Kelly (Pogo) repay reading and rereading by educated adults even today, decades after they were published as disposable entertainment for children. Such triumphs were improbable, to say the least, because midcentury comics were so widely dismissed as trash by angry parents, indignant librarians, and even many of the people who published them. It was all but miraculous that a few great cartoonists were able to look past that nearly universal scorn and grasp the artistic potential of their medium. With clarity and enthusiasm, Barrier explains what made the best stories in the Dell comic books so special. He deftly turns a complex and detailed history into an expressive narrative sure to appeal to an audience beyond scholars and historians.
(source: Nielsen Book Data)

• List of Illustrations Preface and Acknowledgments Technical Notes
• 1. Ethnicity, Gongs, and Pop Songs
• 2. Talempong and Community
• 3. Institutionalizing Minangkabau Arts
• 4. Reforming Talempong
• 5. Talempong in the Marketplace
• 6. Multiple Ways of Sounding Minangkabau Notes Glossary References Discography Interviews by the Author Online Resources Audio Examples Video Examples Web Figures Web Map Index.
• (source: Nielsen Book Data)

"Fraser discusses the aesthetics and system of ideal musical styles employed by talempong players, the history of the talempong, and, most compellingly, the newer styles of practice, including repertoires that incorporate popular music genres from around the world. The author's discussion of institutionalization, professionalization, and monetization of Minangkau arts in general and talempong styles specifically gives this book broader relevance....SUMMING UP: Recommended." -CHOICE Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau. Grounded in rich ethnographic data and supplemented with online audiovisual materials, Gongs and Pop Songs is the first study to chronicle the history and variety of talempong styles. It reveals the continued vitality of older modes in rural communities in the twenty-first century, while tracing the emergence of newer ones with radically different aesthetic frames and values. Each talempong style discussed incorporates into its repertoire Minangkabau pop or indigenous songs, both of which have strong associations with the place and people. These contemporary developments in talempong have taken place against a shifting political, social, and economic backdrop: the institutionalization of indigenous arts, a failed regional rebellion, and the pressures of a free-market economy. Fraser adopts a cognitive approach to ethnicity, asking how people understand themselves as Minangkabau through talempong and how different styles of the genre help create and articulate ethnic sentiments - that is, how they help people sound Minangkabau.
(source: Nielsen Book Data)

• Introduction: imagining a transnational ground
• Race, place, and the geography of exile
• Remapping the (black) nation
• Cultivating correspondences; or, other gestures of belonging
• Constructive engagements.

Part literary history, part cultural study, this book examines the relationships and exchanges between black South African and African American writers who sought to create common ground throughout the antiapartheid era.