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In this new and accessible book, Italy's best known feminist philosopher examines the moral and political significance of vertical posture in order to rethink subjectivity in terms of inclination. Contesting the classical figure of homo erectus or "upright man," Adriana Cavarero proposes an altruistic, open model of the subject-one who is inclined toward others. Contrasting the masculine upright with the feminine inclined, she references philosophical texts (by Plato, Thomas Hobbes, Immanuel Kant, Hannah Arendt, Elias Canetti, and others) as well as works of art (Barnett Newman, Leonardo da Vinci, Artemisia Gentileschi, and Alexander Rodchenko) and literature (Marcel Proust and Virginia Woolf).
The essay for which The Sacred Wood is primarily remembered is one of the most famous pieces of criticism in English: “Tradition and the Individual Talent” helped to re-orientate arguments about the study of literature and its production by redefining the nature of tradition and the artist's relation to it.At a time when the word “traditional” had become a way of damning with faint praise by reference to the past, Eliot reinterpreted the term to mean something entirely different. It is not, he argues, something just “handed down,” but, instead, a prize to be obtained “by great labour,” not least in the making of a huge effort of understanding how the past fits together. Seen thus, Eliot suggests, a literary and artistic tradition “has a simultaneous existence and composes a simultaneous order” – and it is not just past, but present as well. For Eliot, “art never improves,” but only changes, and each part of the tradition is constantly being reinterpreted in light of what is added to the whole. The role of the poet, in Eliot's view, is to subjugate their own personality, and become “a receptacle,” in which “numberless feelings, phrases, images… can unite to form a new compound.” Redefining the issue of poets' relations to the past in this new way is a fine example of creative thinking, and Eliot’s ability to connect existing concepts in new ways was what gave weight to the argument that he advanced: that poets cannot succeed without understanding that they are taking their place on a continuum that stretches back to all their predecessors, and incorporate the ideas, strengths and failings of the entire body of work that those poets represented.
These poems by the happiest man in the world are full of light though written in dark times. Ch' n had the art of seeing the beauty of life beyond all the pain, and of putting it into the music of words. Recently, many young Koreans have discovered in these poems and in the poet's life the innocence and honesty they look for in vain in modern society. His poverty and his body broken by torture never made Ch' n bitter or angry; his poems are hymns of joy at the marvels of nature and the simple pleasures of life. His greatest poem sees death, not as the end but as a journey back to heaven where he plans to tell the angels how beautiful life in this world can be.
Last season, Seagull Books published the first three volumes in a new series collecting essays and interviews by the late French thinker Roland Barthes. This season they'll bring the five-volume set to completion with the publication of "Masculine, Feminine, Neuter" and Signs and Images. "Masculine, Feminine, Neuter," consists of Barthes's writing on literature, covering his peers and influences, writers in French and other languages, contemporary and historical writers, and world literature. This volume comprises Barthes critical articles and interviews previously unavailable in English. Taken together, the five volumes in this series are a gift to Barthes' many fans, helping to round out our understanding of this restless, protean thinker and his legacy.
An accomplished novelist, short story writer, and playwright, Richard Power (1928-1970) was most well-known for his 1969 novel The Hungry Grass. While many of his stories were published in the leading literary journals of the day, his premature death prevented his work from gaining the fame it deserved. Gathered together for the first time, Power's subtle and poignant stories capture the daily lives of urban and rural dwellers in Ireland at the turn of the twentieth century. Coming of age, the tensions between tradition and modernity, and romantic love are some of the themes in these beautifully vivid tales. Power explores the interiority of an Irish mother and the thorny navigation of an adolescent girl's coming of age with pathos and humor. This memorable collection, thoughtfully arranged and introduced by James MacKillop, gives new life to an undeservedly neglected writer for fans and scholars of the Irish short story tradition.
This book describes the technologies that enable real-world robots and drones to be effective killers, including an overview of how artificial intelligence and nanotechnology relate to the topic. It also examines social controversies swirling around the design and use of killer robots, such as whether fully-autonomous, robotic weapons should be banned. Although robots are a modern invention, examples of robot precursors date back to ancient times. This book identifies and examines the monsters, artificial beings, and fictional machines that are precursors of real 21st century killer robots and drones. Examples of precursors include the golem, Frankenstein's monster, and the ethical robots of Isaac Asimov.
This text presents a clear and philosophically sound method for identifying, interpreting, and evaluating arguments as they appear in non-technical sources. It focuses on a more functional, real-world goal of argument analysis as a tool for figuring out what is reasonable to believe rather than as an instrument of persuasion. Methods are illustrated by applying them to arguments about different topics as they appear in a variety of contexts - e.g., newspaper editorials and columns, short essays, informal reports of scientific results, etc.
Salvage Work examines contemporary literary responses to the law's construction of personhood in the Americas. Tracking the extraordinary afterlives of the legal slave personality from the nineteenth century into the twenty-first, Angela Naimou shows the legal slave to be a fractured but generative figure for contemporary legal personhood across categories of race, citizenship, gender, and labor. What emerges is a compelling and original study of how law invents categories of identification and how literature contends with the person as a legal fiction. Through readings of Francisco Goldman's The Ordinary Seaman, Edwidge Danticat's Krik?Krak!, Rosario Ferre's Sweet Diamond Dust (Maldito Amor), Gayl Jones's Song for Anninho and Mosquito, and John Edgar Wideman's Fanon, Naimou shows how literary engagements with legal personhood reconfigure formal narrative conventions in Black Atlantic historiography, the immigrant novel, the anticolonial romance, the trope of the talking book, and the bildungsroman. Revealing links between colonial, civic, slave, labor, immigration, and penal law, Salvage Work reframes debates over civil and human rights by revealing the shared hemispheric histories and effects of legal personhood across seemingly disparate identities-including the human and the corporate person, the political refugee and the economic migrant, and the stateless person and the citizen. In depicting the material remains of the legal slave personality in the de-industrialized neoliberal era, these literary texts develop a salvage aesthetic that invites us to rethink our political and aesthetic imagination of personhood. Questioning liberal frameworks for civil and human rights as well as what Naimou calls death-bound theories of personhood-in which forms of human life are primarily described as wasted, disposable, bare, or dead in law-Salvage Work thus responds to critical discussions of biopolitics and neoliberal globalization by exploring the potential for contemporary literature to reclaim the individual from the legal regimes that have marked her.
The first edition of "The Rhetoric of Fiction" transformed the
criticism of fiction and soon became a classic in the field. One of
the most widely used texts in fiction courses, it is a standard
reference point in advanced discussions of how fictional form
works, how authors make novels accessible, and how readers recreate
texts, and its concepts and terms--such as "the implied author,"
"the postulated reader," and "the unreliable narrator"--have become
part of the standard critical lexicon.
The words, phrases, and stories of the New Testament permeate the English language. Indeed, this relatively small group of twenty-seven works, written during the height of the Roman Empire, not only helped create and sustain a vast world religion, but also have been integral to the larger cultural dynamics of the West, above and beyond particular religious expressions. Looking at the New Testament through the lens of literary study, Kyle Keefer offers an engrossing exploration of this revered religious text as a work of literature, but also keeps in focus its theological ramifications. Unique among books that examine the Bible as literature, this brilliantly compact introduction offers an intriguing double-edged look at this universal text-a religiously informed literary analysis. The book first explores the major sections of the New Testament-the gospels, Paul's letters, and Revelation-as individual literary documents. Keefer shows how, in such familiar stories as the parable of the Good Samaritan, a literary analysis can uncover an unexpected complexity to what seems a simple, straightforward tale. At the conclusion of the book, Keefer steps back and asks questions about the New Testament as a whole. He reveals that whether read as a single document or as a collection of works, the New Testament presents readers with a wide variety of forms and viewpoints, and a literary exploration helps bring this richness to light. A fascinating investigation of the New Testament as a classic literary work, this Very Short Introduction uses a literary framework-plot, character, narrative arc, genre-to illuminate the language, structure, and the crafting of this venerable text. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
SUCCESSFUL WRITING AT WORK, 11th Edition, is a comprehensive introduction to workplace writing with real-world examples and problems; an easy-to-read style; and thorough guidelines for planning, drafting, revising, editing, formatting, and producing professional documents in the global workplace. After a discussion of the writing process and collaboration, the author explores basic business communications (including e-communications and social media), letters, resumes, and other job search materials; proceeds to how to conduct research and document sources; and ends with guidance on more advanced tasks such as preparing visuals, websites, instructions, procedures, proposals, short and long reports, and presentations. You will learn how to be an effective problem solver at work, understand and write for a global audience, write clear and effective sentences, paragraphs, and documents, and select the best communication technologies to accomplish your goals. Each student text is packaged with a free Cengage Essential Reference Card to the MLA HANDBOOK, Eighth Edition.
What do narratives by British suffragettes of being forcibly fed have in common with the representation of indigenous women in Canadian police archives? How are literary representations of domestic violence related to the use of silence as a strategy of resistance in African American women's writing? How are modernist fictions of gay male desire connected with ambiguous sexual performances in rock music or with images of Vietnam veterans in American horror movies? What does a narrative of women's participation in Bengali national resistance movements share with an ethnographic study of prostitution in Papua New Guinea?
These are the some of the specific questions raised by the essays in this volume, which examines a wide variety of historical and cultural locations where differently sexed, gendered, and racialized bodies have been constructed. More generally, this volume addresses theoretical debates over whether embodiment is best understood through representations or performances. Are bodies written or enacted? The different answers to these questions have important consequences for how we understand the inscription of bodies with systems of power and the possibilities that exist for resisting those systems.
go to the Genders website ]
Between Wales and England is an exploration of eighteenth-century anglophone Welsh writing by authors for whom English-language literature was mostly a secondary concern. In its process, the work interrogates these authors' views on the newly-emerging sense of `Britishness', finding them in many cases to be more nuanced and less resistant than has generally been considered. It looks primarily at the English-language works of Lewis Morris, Evan Evans, and Edward Williams (Iolo Morganwg) in the context of both their Welsh- and English-language influences and time spent travelling between the two countries, considering how these authors responded to and reimagined the new national identity through their poetry and prose.
Eleven original essays offer a variety of perspectives on the changing ways in which women's friendships have been viewed. The contributors discuss the fundamental values of women's friendships and communication in order to understand the many parallels and intersections between literature and life. This anthology suggests that women's friendships are to be greatly valued-indeed treasured -as significant parts of women's lives.
"Imperium in Imperio" (1899) was the first black novel to
countenance openly the possibility of organized black violence
against Jim Crow segregation. Its author, a Baptist minister and
newspaper editor from Texas, Sutton E. Griggs (1872-1933), would go
on to publish four more novels; establish his own publishing
company, one of the first secular publishing houses owned and
operated by an African American in the United States; and help to
found the American Baptist Theological Seminary in Tennessee.
Alongside W. E. B. Du Bois and Booker T. Washington, Griggs was a
key political and literary voice for black education and political
rights and against Jim Crow.
Literature, from the Chinese perspective, makes manifest the cosmic patterns that shape and complete the world--a process of "worlding" that is much more than mere representation. In that spirit, A New Literary History of Modern China looks beyond state-sanctioned works and official narratives to reveal China as it has seldom been seen before, through a rich spectrum of writings covering Chinese literature from the late-seventeenth century to the present.Featuring over 140 Chinese and non-Chinese contributors from throughout the world, this landmark volume explores unconventional forms as well as traditional genres--pop song lyrics and presidential speeches, political treatises and prison-house jottings, to name just a few. Major figures such as Lu Xun, Shen Congwen, Eileen Chang, and Mo Yan appear in a new light, while lesser-known works illuminate turning points in recent history with unexpected clarity and force. Many essays emphasize Chinese authors' influence on foreign writers as well as China's receptivity to outside literary influences. Contemporary works that engage with ethnic minorities and environmental issues take their place in the critical discussion, alongside writers who embraced Chinese traditions and others who resisted. Writers' assessments of the popularity of translated foreign-language classics and avant-garde subjects refute the notion of China as an insular and inward-looking culture.A vibrant collection of contrasting voices and points of view, A New Literary History of Modern China is essential reading for anyone seeking a deeper understanding of China's literary and cultural legacy.
In the three years, eight months, and twenty days of the Khmer Rouge's deadly reign over Cambodia, an estimated 1.7 million Cambodians perished as a result of forced labor, execution, starvation, and disease. Despite the passage of more than thirty years, two regime shifts, and a contested U.N. intervention, only one former Khmer Rouge official has been successfully tried and sentenced for crimes against humanity in an international court of law to date. It is against this background of war, genocide, and denied justice that Cathy J. Schlund-Vials explores the work of 1.5-generation Cambodian American artists and writers.
Drawing on what James Young labels "memory work"--the collected articulation of large-scale human loss--"War, Genocide, and Justice "investigates the remembrance work of Cambodian American cultural producers through film, memoir, and music. Schlund-Vials includes interviews with artists such as Anida Yoeu Ali, praCh Ly, Sambath Hy, and Socheata Poeuv. Alongside the enduring legacy of the Killing Fields and post-9/11 deportations of Cambodian American youth, artists potently reimagine alternative sites for memorialization, reclamation, and justice. Traversing borders, these artists generate forms of genocidal remembrance that combat amnesic politics and revise citizenship practices in the United States and Cambodia.
Engaged in politicized acts of resistance, individually produced and communally consumed, Cambodian American memory work represents a significant and previously unexamined site of Asian American critique.
Worms. Natural history is riddled with them. Literature is crawling with them. From antiquity to today, the ubiquitous and multiform worm provokes an immediate discomfort and unconscious distancing: it remains us against them in anthropocentric anxiety. So there is always something muddled, or dirty, or even offensive when talking about worms. Rehabilitating the lowly worm into a powerful aesthetic trope, Janelle A. Schwartz proposes a new framework for understanding such a strangely animate nature. Worms, she declares, are the very matter with which the Romantics rethought the relationship between a material world in constant flux and the human mind working to understand it.Worm Work studies the lesser-known natural historical records of Abraham Trembley and his contemporaries and the familiar works of Erasmus Darwin, Charles Darwin, William Blake, Mary Shelley, and John Keats, to expose the worm as an organism that is not only reviled as a taxonomic terror but revered as a sign of great order in nature as well as narrative. This book traces a pattern of cultural production, a vermiculture that is as transformative of matter as it is of mind. It distinguishes decay or division as positive processes in Romantic era writings, compounded by generation or renewal and used to represent the biocentric, complex structuring of organicism.Offering the worm as an archetypal figure through which to recast the evolution of a literary order alongside questions of taxonomy from 1740 to 1820 and on, Schwartz unearths Romanticism as a rich humus of natural historical investigation and literary creation.
The book has been specially compiled to honour scholars who have promoted, developed and preserved indigenous African languages of South Africa. These scholars contributed by restoring the dignity of the languages which were marginalised and dehumanised by colonialism. The authors present innovative approaches of interpreting and analysing African literary works, and suggest relevant translation strategies. Other chapters focus on the importance of naming in African societies. Names have a bearing on the life of a person or the community. The book further recommends a frequent revisit of the orthography of the indigenous African languages to avoid inconsistencies.
Opacity and the Closet interrogates the viability of the metaphor of \u201cthe closet\u201d when applied to three important queer figures in postwar American and French culture: the philosopher Michel Foucault, the literary critic Roland Barthes, and the pop artist Andy Warhol. Nicholas de Villiers proposes a new approach to these cultural icons that accounts for the queerness of their works and public personas. Rather than reading their self-presentations as \u201ccloseted,\u201d de Villiers suggests that they invent and deploy productive strategies of \u201copacity\u201d that resist the closet and the confessional discourse associated with it. Deconstructing binaries linked with the closet that have continued to influence both gay and straight receptions of these intellectual and pop celebrities, de Villiers illuminates the philosophical implications of this displacement for queer theory and introduces new ways to think about the space they make for queerness. Using the works of Foucault, Barthes, and Warhol to engage each other while exploring their shared historical context, de Villiers also shows their queer appropriations of the interview, the autobiography, the diary, and the documentary-forms typically linked to truth telling and authenticity.
This work is the first history and evaluation of contemporary
American critical theory within its European philosophical
contexts. In the first part, Frank Lentricchia analyzes the impact
on our critical thought of Frye, Stevens, Kermode, Sartre, Poulet,
Heidegger, Sussure, Barthes, Levi-Strauss, Derrida, and Foucault,
among other, less central figures. In a second part, Lentricchia
turns to four exemplary theorists on the American scene--Murray
Krieger, E. D. Hirsch, Jr., Paul de Man, and Harold Bloom--and an
analysis of their careers within the lineage established in part
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