This bold new theoretical study explores dissident subjectivity, that is, the struggle for unique authorial identity in American literary discourse that has existed, according to David Jarraway, since the Romantics. From Emerson’s “Experience” remarking upon the “focal distance within the actual horizon of human life” to Toni Morrison’s Nobel Prize address sanctifying the artist’s “sophisticated privileged space,” American literature has continuously recognized a necessary “distance”—the gap between culturally accepted ideas of selfhood and the intractable reality of the self’s never-completed construction in time. Jarraway’s fascinating examination of modernist poets shows that engaging with this artistic space, or “going the distance,” empowers writers and their readers to create and perceive identities that resist the frozen certainties of conventional gender, sexual, and social roles. Employing this theory with grace and precision, Jarraway ranges through the dissident process in Gertrude Stein, the cultural criticism of William Carlos Williams, the deferred racialism of Langston Hughes, the queer perversities of Frank O’Hara, and the spectral lesbian poetics of Elizabeth Bishop. Bolstered further by insights from the pragmatism of William James through the cultural critique of Theodor Adorno to the queer theory of Judith Butler, the author challenges his audience with politically engaged insistence on the life-affirming potentialities of human subjectivity in literature. His passionate conclusion demonstrates the liberating fluidity of self made possible by feminist chartings of modern identity’s depths. Lucidly composed, theoretically sophisticated and up-to-the-minute, Going the Distance painstakingly recovers the dissident American subjective in modernist literary discourse within its fullest cultural context. Jarraway’s readings are a major contribution to poetry scholarship and to cultural studies that will provoke further investigations into the history of subjectivity in American literature as a whole.
It's harder to kill people when there's a peace process on. Ulster Loyalist Alan Black is kept awake every night by his neighbour McCorrick's dog barking. To add to his difficulties, McCorrick refuses to acknowledge that he even owns a dog, let alone one that is creating a disturbance. In a Northern Ireland he barely recognises, where politics has proved just to be the continuation of war by other means, a disconsolate Alan sets out to rid himself of the incessant noise. As he seeks help from authority figures, he finally – as a very last resort – turns to the only voice he can really trust, Eamonn Holmes... Coinciding with the 100th anniversary of the partition of Ireland and the foundation of Northern Ireland, Yes So I Said Yes is a blackly comic, ferocious, dystopian satire about what it's like to feel alone in a place where everyone else is conspiring to erase you and your history. This edition was published to coincide with the production at London's Finborough Theatre in November 2021.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Enthusiast! is a polemical history of American literature told from the point of view of six of its major enthusiasts. Complaining that his age was ‘retrospective’, Emerson injected enthusiasm into American literature as a way of making it new. ‘What,’ he asked, ‘is a man good for without enthusiasm? and what is enthusiasm but the daring of ruin for its object?’ This book takes enthusiasm to be a defining feature of American literature, showing how successive major writers – Melville, Thoreau, Pound, Moore, Frank O’Hara and James Schuyler – have modernized and re-modeled Emerson’s founding sense of enthusiasm. The book presents the writer as enthusiast, showing how enthusiasm is fundamental to the composition and the circulation of literature. Enthusiasm, it is argued, is the way literary value is passed on. Starting with a brief history of enthusiasm from Plato to Kant and Emerson, the book features chapters on each of Melville, Thoreau, Pound, Moore, O’Hara, and Schuyler. Each chapter presents an aspect of the writer as enthusiast, the book as a whole charting the changing sense of literary enthusiasm from Romanticism to the present day. Lucidly written and combatively argued, the book will appeal to readers of American Literature or Modern Poetry, and to all those interested in the circulation of literary work.
Original and theoretically astute, Abstract Bodies is the first book to apply the interdisciplinary field of transgender studies to the discipline of art history. It recasts debates around abstraction and figuration in 1960s art through a discussion of gender’s mutability and multiplicity. In that decade, sculpture purged representation and figuration but continued to explore the human as an implicit reference. Even as the statue and the figure were left behind, artists and critics asked how the human, and particularly gender and sexuality, related to abstract sculptural objects that refused the human form. This book examines abstract sculpture in the 1960s that came to propose unconventional and open accounts of bodies, persons, and genders. Drawing on transgender and queer theory, David J. Getsy offers innovative and archivally rich new interpretations of artworks by and critical writing about four major artists—Dan Flavin (1933–1996), Nancy Grossman (b. 1940), John Chamberlain (1927–2011), and David Smith (1906–1965). Abstract Bodies makes a case for abstraction as a resource in reconsidering gender’s multiple capacities and offers an ambitious contribution to this burgeoning interdisciplinary field.
A landmark work of cultural history that tells the story of how four young poets, John Ashbery, Frank O'Hara, James Schuyler, and Kenneth Koch, reinvented literature and turned New York into the art capital of the world. Greenwich Village, New York, circa 1951. Every night, at a rundown tavern with a magnificent bar called the Cedar Tavern, an extraordinary group or painters, writers, poets, and hangers-on arrive to drink, argue, tell jokes, fight, start affairs, and bang out a powerful new aesthetic. Their style is playful, irreverent, tradition-shattering, and brilliant. Out of these friendships, and these conversations, will come the works of art and poetry that will define New York City as the capital of world culture--abstract expressionism and the New York School of Poetry. A richly detailed portrait of one of the great movements in American arts and letters, The Last Avant-Garde covers the years 1948-1966 and focuses on four fast friends--the poets Frank O'Hara, James Schuyler, John Ashbery, and Kenneth Koch. Lehman brings to vivid life the extraordinary creative ferment of the time and place, the relationship of great friendship to art, and the powerful influence that a group of visual artisits--especially Jane Freilicher, Larry Rivers, and Fairfield Porter--had on the literary efforts of the New York School. The Last Avant-Garde is both a definitive and lively view of a quintessentially American aesthetic and an exploration of the dynamics of creativity.
Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.
Diane di Prima: Visionary Poetics and the Hidden Religions reveals how central di Prima was in the discovery, articulation and dissemination of the major themes of the Beat and hippie countercultures from the fifties to the present. Di Prima (1934--) was at the center of literary, artistic, and musical culture in New York City. She also was at the energetic fulcrum of the Beat movement and, with Leroi Jones (Amiri Baraka), edited The Floating Bear (1961-69), a central publication of the period to which William S. Burroughs, Jack Kerouac, Allen Ginsberg, Charles Olson, and Frank O'Hara contributed. Di Prima was also a pioneer in her challenges to conventional assumptions regarding love, sexuality, marriage, and the role of women. David Stephen Calonne charts the life work of di Prima through close readings of her poetry, prose, and autobiographical writings, exploring her thorough immersion in world spiritual traditions and how these studies informed both the form and content of her oeuvre. Di Prima's engagement in what she would call “the hidden religions” can be divided into several phases: her years at Swarthmore College and in New York; her move to San Francisco and immersion in Zen; her researches into the I Ching, Paracelsus, John Dee, Heinrich Cornelius Agrippa, alchemy, Tarot, and Kabbalah of the mid-sixties; and her later interest in Tibetan Buddhism. Diane di Prima: Visionary Poetics and the Hidden Religions is the first monograph devoted to a writer of genius whose prolific work is notable for its stylistic variety, wit and humor, struggle for social justice, and philosophical depth.
This study of British and American poetry from the mid-1920s to the recent past, clarifies the complex interrelations of individuals, groups, and movements, and the contexts in which the poets worked.
It is 2003. George Bush has just appeared aboard a Navy carrier flashing a Mission Accomplished banner. In England, a Wicca coven warns British Intelligence of a prophecy to assassinate a future US president. It is to be carried out by Ramses, the son of the Anti-Christ. British MI-5 notifies the CIA. The CIA enlists the Hawaii Attorney General because Ramses was last known to be in Hawaii. Hawaii authorities discover that there is more to the prophecy besides a potential assassination. If the assassination is carried out, it will lead to the start of Armageddon. To prevent the fulfillment of the prophecy, Ramses must be reunited with the Anti-Christ in ancient Babylon, now modern-day Iraq. The Bible believing Lieutenant Governor of Hawaii sees this as another piece of evidence of the approaching End-Times. He recruits Honolulu narcotics detective Jake Cohen-Garcia, a former Navy SEAL. Jake is the ideal Anti-Christ bounty hunter because of his born again Christian reputation and his unique Jewish-Hispanic DNA. Jakes DNA heritage matches up perfectly with links connected to the Wicca prophecy. Jake is teamed up with two investigators and a certified exorcist priest. They form a unique investigative unit: The God Squad. The squads mission is to locate Ramses and short-circuit the prophecy of Armageddon. The mission takes the squad into the bizarre world of the occult and quantum mechanics that challenges their faith, their strength, and their sanitythe battles with the paranormal compound, Cohen-Garcias struggle with his personal demons and split personality. It threatens to destroy his faith, along with his family, as it propels him toward his own destruction. In the end, Jakes salvation comes from an up-close and personal confrontation with Ramses, a holy man from another world. The salvation of the world hangs in the balance.
This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: collected writings, lectures, and interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist."--Provided by publisher.
David Herd sets out to provide readers with a new critical language through which they can appreciate the beauty and complexity of Ashbery’s writing. Presenting the poet in all his forms –avant-garde, nostalgic, sublime and camp – the book argues that the perpetual inventiveness of Ashbery’s work has always been underpinned by the poets desire to write the poem fit to cope with its occasion. Tracing Ashbery’s development in the light of this idea, and from its origins in the dazzling artistic environment of 1950’s New York, the book evaluates his poetry against the aesthetic, literary and historical backgrounds that have informed it. The story of a brilliant career, and a history of the period in which that career has taken shape, John Ashbery and American Poetry provides a compelling account of Ashbery’s importance to Twentieth Century Literature.
When The Gambia achieved its independence from Great Britain on 18 February 1965, as mainland Africa’s smallest state, its future seemed uncertain. It retained this status for nearly 30 years, An attempted coup d’état in July 1981 was put down, but, ironically, when other African states were returning to democratic government, Gambian democracy finally succumbed to a military coup on 22 July 1994. While civilian rule was restored in 1996, full democracy was not and a number of subsequent presidential and parliamentary elections have been far from free and fair, while The Gambia’s human rights record has been very poor since 1994. This fifth edition of Historical Dictionary of The Gambia contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent access point for students, researchers, and anyone wanting to know more about The Gambia.
The first biography of Anne Damer since 1908, The Life of Anne Damer: Portrait of a Regency Artist, by Jonathan Gross, draws on previously unpublished letters to explore the life and legacy of England’s first significant female sculptor. This biography will interest historians of Georgian, England, and readers in the fine arts, literature, and history.
Microdisplays are tiny, high-resolution electronic displays, designed for use in magnifying optical systems such as HDTV projectors and near-eye personal viewers. As a result of research and development into this field, Microdisplays are incorporated in a variety of visual electronics, notably new 3G portable communications devices, digital camera technologies, wireless internet applications, portable DVD viewers and wearable PCs. Introduction to Microdisplays encapsulates this market through describing in detail the theory, structure, fabrication and applications of Microdisplays. In particular this book: Provides excellent reference material for the Microdisplay industry through including an overview of current applications alongside a guide to future developments in the field Covers all current technologies and devices such as Silicon Wafer Backplane Technology, Liquid Crystal Devices, Micromechanical Devices, and the emerging area of Organic Light Emitting Diodes Presents guidance on the design of applications of Microdisplays, including Microdisplays for defence and telecoms, from basic principles through to their performance limitations Introduction to Microdisplays is a thorough and comprehensive reference on this emerging topic. It is essential reading for display technology manufacturers, developers, and system integrators, as well as practising electrical engineers, physicists, chemists and specialists in the display field. Graduate students, researchers, and developers working in optics, material science, and telecommunications will also find this a valuable resource. The Society for Information Display (SID) is an international society, which has the aim of encouraging the development of all aspects of the field of information display. Complementary to the aims of the society, the Wiley-SID series is intended to explain the latest developments in information display technology at a professional level. The broad scope of the series addresses all facets of information displays from technical aspects through systems and prototypes to standards and ergonomics
Across the country ambulances are turned away from emergency departments (EDs) and patients are waiting hours and sometimes days to be admitted to a hospital room. Hospitals are finding it hard to get specialist physicians to come to treat emergency patients. Our EDs demand a new way of thinking. They are not at a tipping point; they are at a break
Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.
The Covid pandemic affected our minds as well as bodies, providing occasion to examine old literature in a new light. This book considers authors like Joyce, Kafka, and Chekhov, showing that present crises can deepen our appreciation of past achievements. It examines a wide range of diverse, often overlooked, fiction, arguing that the psychological and social insights of classic short stories and novels have only increased in relevance in the face of collective trauma. Comparative literature is thus linked to the study of illness and society. The book addresses the concerns of general readers whilst broadening our cultural vocabulary for analyzing contemporary challenges and dangers.
As the forward base and staging area for all US military operations in the Pacific during World War II, Hawaii was the "first strange place" for close to a million soldiers, sailors, and marines on their way to the horrors of war. But Hawaii was also the first strange place on another kind of journey, toward the new American society that would begin to emerge in the postwar era. Unlike the rigid and static social order of prewar America, this was to be a highly mobile and volatile society of mixed racial and cultural influences, one above all in which women and minorities would increasingly demand and receive equal status. Drawing on documents, diaries, memoirs, and interviews, Beth Bailey and David Farber show how these unprecedented changes were tested and explored in the highly charged environment of wartime Hawaii.
This is a groundbreaking study of Cork's rise from insignificance to international importance as a city and port, and of South Munster's development from agricultural hinterland to one of early modern Ireland's wealthiest regions and a symbol of a new commercial order. Reconstructing the framework of a pre-modern regional society in a way never before attempted for Ireland, Old World Colony integrates social, economic, and political history across the heartlands of "the Hidden Ireland" from the seventeenth century's civil wars to Catholic emancipation in the 1820s. Dickson shows that colonization and commerce transformed the region, but at a price: even in South Munster's formative years, the problems of pre-Famine Ireland-gross income inequality and land scarcity-were already evident. Co-published with Cork University Press, Ireland Wisconsin edition for sale only in the U.S., its territories and possessions, and Canada. "A masterful account. . . . So finely nuanced and meticulously researched that it effectively raises the historiographical bar for Irish regional history."--James G. Patterson, H-Atlantic, H-Net Reviews
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