Taking the culturally resonant motif of the descent to the underworld as his guiding thread, David L. Pike traces the interplay between myth and history in medieval and modernist literature. Passage through Hell suggests new approaches to the practice of comparative literature, and a possible escape from the current morass of competing critical schools and ideologies. Pike's readings of Louis Ferdinand Céline and Walter Benjamin reveal the tensions at work in the modern appropriation of structures derived from ancient and medieval descents. His book shows how these structures were redefined in modernism and persist in contemporary critical practice. In order to recover the historical corpus of modernism, he asserts, it is necessary to acknowledge the attraction that medieval forms and motifs held for modernist literature and theory. By pairing the writings of the postwar German dramatist and novelist Peter Weiss with Dante's Commedia, and Christine de Pizan with Virginia Woolf, Pike argues for a new level of complexity in the relation between medieval and modern poetics. Pike's supple and persuasive reading of the Commedia resituates that text within the contradictions of medieval tradition. He contends that the Dantean allegory of conversion, altered to suit the exigencies of modernism, maintains its hold over current literature and theory. The postwar writers Pike treats--Weiss, Seamus Heaney, and Derek Walcott--exemplify alternate strategies for negotiating the legacy of modernism. The passage through hell emerges as a way of disentangling images of the past from their interpretation in the present.
Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. He details the emergence of the vertical city in the imagination of 19th century Paris and London, a city whose ground level was replete with passages between above and below.
Taking the culturally resonant motif of the descent to the underworld as his guiding thread, David L. Pike traces the interplay between myth and history in medieval and modernist literature. Passage through Hell suggests new approaches to the practice of comparative literature, and a possible escape from the current morass of competing critical schools and ideologies. Pike's readings of Louis Ferdinand Céline and Walter Benjamin reveal the tensions at work in the modern appropriation of structures derived from ancient and medieval descents. His book shows how these structures were redefined in modernism and persist in contemporary critical practice. In order to recover the historical corpus of modernism, he asserts, it is necessary to acknowledge the attraction that medieval forms and motifs held for modernist literature and theory. By pairing the writings of the postwar German dramatist and novelist Peter Weiss with Dante's Commedia, and Christine de Pizan with Virginia Woolf, Pike argues for a new level of complexity in the relation between medieval and modern poetics. Pike's supple and persuasive reading of the Commedia resituates that text within the contradictions of medieval tradition. He contends that the Dantean allegory of conversion, altered to suit the exigencies of modernism, maintains its hold over current literature and theory. The postwar writers Pike treats--Weiss, Seamus Heaney, and Derek Walcott--exemplify alternate strategies for negotiating the legacy of modernism. The passage through hell emerges as a way of disentangling images of the past from their interpretation in the present.
Cold War Space and Culture in the 1960s and 1980s' studies the two periods in which Americans were actively encouraged to excavate their own backyards while governments the world over exhausted their budgets on fortified super-shelters and megaton bombs. The dreams and nightmares inspired by the spectre of nuclear destruction were expressed in images and forms from comics, movies, and pulp paperbacks to policy documents, protest movements, and survivalist tracts. Illustrated with photographs, artwork, and movie and television stills of real and imagined fallout shelters and other bunker fantasies, David L. Pike's continues his decades-long exploration of the meanings of modern undergrounds.
Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. He details the emergence of the vertical city in the imagination of 19th century Paris and London, a city whose ground level was replete with passages between above and below.
Making a significant advance in the study of the film industry of the period, Canadian Cinema since the 1980s is also an ideal text for students, researchers, and Canadian film enthusiasts.
Based on nearly five decades of research, this magisterial work is a biographical register and analysis of the people who most directly influenced the course of the Civil War, its high commanders. Numbering 3,396, they include the presidents and their cabinet members, state governors, general officers of the Union and Confederate armies (regular, provisional, volunteers, and militia), and admirals and commodores of the two navies. Civil War High Commands will become a cornerstone reference work on these personalities and the meaning of their commands, and on the Civil War itself. Errors of fact and interpretation concerning the high commanders are legion in the Civil War literature, in reference works as well as in narrative accounts. The present work brings together for the first time in one volume the most reliable facts available, drawn from more than 1,000 sources and including the most recent research. The biographical entries include complete names, birthplaces, important relatives, education, vocations, publications, military grades, wartime assignments, wounds, captures, exchanges, paroles, honors, and place of death and interment. In addition to its main component, the biographies, the volume also includes a number of essays, tables, and synopses designed to clarify previously obscure matters such as the definition of grades and ranks; the difference between commissions in regular, provisional, volunteer, and militia services; the chronology of military laws and executive decisions before, during, and after the war; and the geographical breakdown of command structures. The book is illustrated with 84 new diagrams of all the insignias used throughout the war and with 129 portraits of the most important high commanders.
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