This book seeks to satisfy a pedagogical need. It is designed for the new graduate student in England and elsewhere, although it may profitably be used by the enterprising final year undergraduate. Its aim is to introduce the modern student to readings of French Renaissance literature, drawing on the perspectives of contemporary literary theories. The volume is organised by paired readings of five major sixteenth-century French writers, with interpretations covering, among others, structuralism, semiotics, feminism and psychoanalysis. Linking these interpretations is a constant interest in problems such as the role of the reader, the nature of the text and the question of gender. The Introduction contextualises the encounter between literary theory and Renaissance texts by using the contributions as pivotal points in the development of critical thinking about this period in early modern literature. All foreign language quotations are translated into English, and the book is intended to be of practical interest to a wide range of readers, from modern linguists to those studying critical theory, comparative literature or cultural history.
[The essays] are arranged to follow the order of the "Comedy," and they form the perfect companion for a reader of the poem. Throughout Freccero operates on the fundamental premise that there is always an intricate and crucial dialectic at work between Dante the poet and Dante the pilgrim. -- from cover.
A rallying cry on behalf of a distinctly American institution of higher learning—the small liberal arts college—America Goes to College combines broad-based scholarship with personal narrative and reflection. In a highly entertaining manner, John E. Seery showcases the precarious successes of a well-rounded liberal arts college education, while at the same time signaling some of the dangers that loom on the horizon. Seery contends that the liberal arts are best pursued within the face-to-face interactive setting, characteristic of the small college classroom, as opposed to the large university lecture hall. Moreover and more provocatively, he identifies political theorists as the proper custodians and practitioners of the liberal arts tradition as it unfolds today. It is the unfettered freedom of the small liberal arts college, where vision and practice can actually coincide, that makes it the embodiment of the advantages of the American higher education system—a national treasure deserving of support.
A pioneering critic, educator, and poet, I. A. Richards (1893-1979) helped the English-speaking world decide not only what to read but how to read it. Acknowledged "father" of New Criticism, he produced the most systematic body of critical writing in the English language since Coleridge. His method of close reading dominated the English-speaking classroom for half a century. John Paul Russo draws on close personal acquaintance with Richards as well as on unpublished materials, correspondence, and interviews, to write the first biography (originally published in 1989) of one of last century’s most influential and many-sided men of letters.
In this volume, the author offers a substantial reconsideration of same-sex relations in the early modern period, and argues that early modern writers – rather than simply celebrating a classical friendship model based in dyadic exclusivity and a rejection of self-interest – sought to innovate on classical models for idealized friendship. This book redirects scholarly conversations regarding gender, sexuality, classical receptions, and the economic aspects of social relations in the early modern period. It points to new directions in the application of queer theory to Renaissance literature by examining group friendship as a celebrated social formation in the work of early modern writers from Shakespeare to Milton. This volume will be of interest to scholars of the early modern period in England, as well as to those interested in the intersections between literature and gender studies, economic history and the economic aspects of social relations, the classics and the classical tradition, and the history of sexuality.
Medieval commentaries on the origin and history of language used biblical history, from Creation to the Tower of Babel, as their starting-point, and described the progressive impairment of an originally perfect language. Biblical and classical sources raised questions for both medieval poets and commentators about the nature of language, its participation in the Fall, and its possible redemption. John M. Fyler focuses on how three major poets - Chaucer, Dante, and Jean de Meun - participated in these debates about language. He offers fresh analyses of how the history of language is described and debated in the Divine Comedy, the Canterbury Tales and the Roman de la Rose. While Dante follows the Augustinian idea of the Fall and subsequent redemption of language, Jean de Meun and Chaucer are skeptical about the possibilities for linguistic redemption and resign themselves, at least half-comically, to the linguistic implications of the Fall and the declining world.
The three central chapters of the book each examine a different type of error or anomaly: a mismeasured giant, a self-defeating experiment, an erring citation of Virgil. These apparently trivial discrepancies are linked, the author suggests, to much larger questions. What is the status of mimetic realism in Dante's poem? By what right does a poet pretend to represent the order of God's mind? Where does aggressive allegoresis cross over into interpretive error? Through the study of error, the author offers an alternative account of Dante's poetic project, one that gives priority to wit and self-irony rather than didactic seriousness.
Fictional character is an ontologically ambivalent category — at once a formal construct and a quasi-person — which lies at the heart of the life of textual fictions of all kinds. Character and Person explores that ambivalence by investigating not only the kinds of thing that character is but how it works to engage readers and the range of typologies through which it has been constructed in very different periods, media, and genres. John Frow seeks to explore the ways in which character is person-like, and through that the question of what it means to be a social person. His focus is thus on the interaction between its two major categories, and its method involves a constant play back and forth between them: from philosophical theories of face to an account of the mask in the New Comedy; from an exploration of medieval beliefs about the body's existence in the afterlife to a reading of Dante's Purgatorio; from the history of humoral medicine to the figure of the melancholic in Jacobean drama; and from Proust and Pessoa to cognitive science. What develops from this methodological commitment to fusing the categories of character and person is an extended analysis of the schemata that underpin each of them in their distinct but mutually constitutive spheres of operation.
The metaphor of the monster or predator—usually a sexual predator, drug dealer in areas frequented by children, or psychopathic murderer—is a powerful framing device in public discourse about how the criminal justice system should respond to serious violent crimes. The cultural history of the monster reveals significant features of the metaphor that raise questions about the extent to which justice can be achieved in both the punishment of what are regarded as "monstrous crimes" and the treatment of those who commit such crimes. This book is the first to address the connections between the history of the monster metaphor, the 19th century idea of the criminal as monster, and the 20th century conception of the psychopath: the new monster. The book addresses, in particular, the ways in which the metaphor is used to scapegoat certain categories of crimes and criminals for anxieties about our own potential for deviant, and, indeed, dangerous interests. These interests have long been found to be associated with the fascination people have for monsters in most cultures, including the West. The book outlines an alternative public health approach to sex offending, and crime in general, that can incorporate what we know about illness prevention while protecting the rights, and humanity, of offenders. The book concludes with an analysis of the role of forensic psychiatrists and psychologists in representing criminal defendants as psychopaths, or persons with certain personality disorders. As psychiatry and psychology have transformed bad behavior into mad behavior, these institutions have taken on the legal role of helping to sort out the most dangerous among us for preventive "treatment" rather than carceral "punishment.
What should historians do with the words of the dead? Inquisition and Power reformulates the historiography of heresy and the inquisition by focusing on depositions taken from the Cathars, a religious sect that opposed the Catholic church and took root in southern France during the twelfth century. Despite the fact that these depositions were spoken in the vernacular, but recorded in Latin in the third person and rewritten in the past tense, historians have often taken these accounts as verbatim transcriptions of personal testimony. This belief has prompted some historians, including E. Le Roy Ladurie, to go so far as to retranslate the testimonies into the first-person. These testimonies have been a long source of controversy for historians and scholars of the Middle Ages. Arnold enters current theoretical debates about subjectivity and the nature of power to develop reading strategies that will permit a more nuanced reinterpretation of these documents of interrogation. Rather than seeking to recover the true voice of the Cathars from behind the inquisitor's framework, this book shows how the historian is better served by analyzing texts as sites of competing discourses that construct and position a variety of subjectivities. In this critically informed history, Arnold suggests that what we do with the voices of history in fact has as much to do with ourselves as with those we seek to 'rescue' from the silences of past.
J. J. White reexamines the use of myth in fiction in order to bring a new terminological precision into the field. While concentrating on the German novel (Mann, Broch, and Nossack), he discusses the work of Alberto Moravia, John Bowen, Michel Butor, and Macdonald Harris as well, in order to show the modern predilection for myth in whatever national literature. Throughout his discussion, Mr. White delineates carefully his specific subject: the novel in which mythological motifs are used to prefigure events and character—Joyce's Ulysses is, of course, the archetypal novel in this tradition. Setting forth his terms, and making clear his use of them, Mr. White then analyzes the wide appeal of the mythological novel for both twentieth-century novelists and critics: he distinguishes four ways in which modern novelists use myth and surveys the range of critical literature on the subject. His concluding chapters are discussions of specific texts in which he differentiates between novels which have a unilinear parallel between myth and plot, novels of "juxtaposition" in which chapters retelling myth parallel modern action, and novels of fusion in which the action of the modern account synthesizes more than one mythic prefiguration of mythological motif. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
John Milton is, next to William Shakespeare, the most influential English poet, a writer whose work spans an incredible breadth of forms and subject matter. The Complete Poetry and Essential Prose of John Milton celebrates this author’s genius in a thoughtfully assembled book that provides new modern-spelling versions of Milton’s texts, expert commentary, and a wealth of other features that will please even the most dedicated students of Milton’s canon. Edited by a trio of esteemed scholars, this volume is the definitive Milton for our time. In these pages you will find all of Milton’s verse, from masterpieces such as Paradise Lost–widely viewed as the finest epic poem in the English language–to shorter works such as the Nativity Ode, Lycidas,, A Masque and Samson Agonistes. Milton’s non-English language sonnets, verses, and elegies are accompanied by fresh translations by Gordon Braden. Among the newly edited and authoritatively annotated prose selections are letters, pamphlets, political tracts, essays such as Of Education and Areopagitica, and a generous portion of his heretical Christian Doctrine. These works reveal Milton’s passionate advocacy of controversial positions during the English Civil War and the Commonwealth and Restoration periods. With his deep learning and the sensual immediacy of his language, Milton creates for us a unique bridge to the cultures of classical antiquity and medieval and Renaissance Christianity. With this in mind, the editors give careful attention to preserving the vibrant energy of Milton’s verse and prose, while making the relatively unfamiliar aspects of his writing accessible to modern readers. Notes identify the old meanings and roots of English words, illuminate historical contexts–including classical and biblical allusions–and offer concise accounts of the author’s philosophical and political assumptions. This edition is a consummate work of modern literary scholarship.
This volume, the ninth in the series of The Variorum Edition of the Poetry of John Donne, presents newly edited critical texts of 25 love lyrics. Based on an exhaustive study of the manuscripts and printed editions in which these poems have appeared, Volume 4.2 details the genealogical history of each poem, accompanied by a thorough prose discussion, as well as a General Textual Introduction of the Songs and Sonets collectively. The volume also presents a comprehensive digest of the commentary on these Songs and Sonets from Donne's time through 1999. Arranged chronologically within sections, the material for each poem is organized under various headings that complement the volume's companions, Volume 4.1 and Volume 4.3.
Study of eschatology often gets bogged down in minutiae that rarely seems to affect daily life. Avoiding this trap, John Phelan gets to the heart of the matter by examining how Christian hope and practice of resurrection impact everything.
Opening with a Foreword by James Alison, this volume is the first in-depth treatment of Alison's theological method. John P. Edwards shows that Alison's theological project outstrips René Girard's application of mimetic theory to theology. He concludes that an explicitly Christian theological perspective is necessary for providing a fully coherent account of Girard's notions of "conversion" and "mimetic desire". This volume grounds Alison's theological method in his understanding of the ongoing interaction between conversion and theological reflection, which is informed by his use of mimetic theory. While Alison describes this method as “theology in the order of the discovery”, the author refers to it as an “inductive theology”. The volume closes by demonstrating that such a theology bears fruit in a renewed understanding of the value of Christian doctrines and, particularly, the doctrine of revelation.
For all that has been written about the author of the Divine Comedy, Dante Alighieri (1265-1321) remains the best guide to his own life and work. Dante's writings are therefore never far away in this authoritative and comprehensive intellectual biography, which offers a fresh account of the medieval Florentine poet's life and thought before and after his exile in 1302. Beginning with the often violent circumstances of Dante's life, the book examines his successive works as testimony to the course of his passionate humanity: his lyric poetry through to the Vita nova as the great work of his first period; the Convivio, De vulgari eloquentia and the poems of his early years in exile; and the Monarchia and the Commedia as the product of his maturity. Describing as it does a journey of the mind, the book confirms the nature of Dante's undertaking as an exploration of what he himself speaks of as "maturity in the flame of love." The result is an original synthesis of Dante's life and work." --Amazon.com.
This textual and intertextual analysis of the dialogue in Jean de Meun's Roman de la Rose combines specific close readings of texts with a rich theoretical argument to establish Reason's moral primacy in the poem's economy. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This book dismantles the stereotype of Spenser as one who blurs earlier epic traditions. John Watkins's examinations of Spenser's major poetry reveal a poet keenly attuned to dissonances among his classical, medieval, and early modern sources. By bringing Virgil into an intertextual dialogue with Chaucer, Ariosto, and Tasso, and several Neo-Latin commentators, Spenser transformed the most patriarchal of genres into a vehicle for praising the Virgin Queen.
Culture has become a touchstone of interdisciplinary conversation. For readers interested in sociology, the social sciences and the humanities, this book maps major classical and contemporary analyses and cultural controversies in relation to social processes, everyday life, and axes of ordering and difference - such as race, class and gender. Hall, Neitz, and Battani discuss: self and identity stratification the Other the cultural histories of modernity and postmodernity production of culture the problem of the audience action, social movements, and change. The authors advocate cultivating the sociological imagination by engaging myriad languages and perspectives of the social sciences and humanities, while cultivating cultural studies by developing the sociological imagination. Paying little respect to boundaries, and incorporating fascinating examples, this book draws on diverse intellectual perspectives and a variety of topics from various historical periods and regions of the world.
Originally published in 1965, Contraception received unanimous acclaim from all quarters as the first thorough, scholarly, objective analysis of Catholic doctrine on birth control. More than ever this subject is of acute concern to a world facing serious population problems, and the author has written an important new appendix examining the development of and debates over the doctrine in the past twenty years.
John Howard Yoder (1927-1997), who was a professor at Notre Dame University and Associated Mennonite Biblical Seminary, was one of the 20th century's leading theologians. Scholars continue to study his writings on pacifism and other subjects. The End of Sacrifice brings together four decades of Yoder's published and unpublished writings on capital punishment. He engaged in sophisticated biblical, sociological, and historical analysis in order to demonstrate that from ancient society until today capital punishment is an inherently cultic sacrificial rite. Since the death of Jesus brought a decisive end to all sacrifices for sin, Yoder argues, Christians should proclaim the abolition of the death penalty. Its advocates should no longer claim biblical validation. In doing so, Yoder also makes a persuasive case for proactive Christian witness to the state. He calls the church to proclaim the end of sacrifice to public officials who are responsible for carrying out capital punishment. "John Howard Yoder was unique in how he brings together both the biblical and sociological roots of the practice of capital punishment. Many Christian works focus on the former, whereas other works focus exclusively on the latter."—John C. Nugent
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
The premier text for therapeutic exercise Here is all the guidance you need to customize interventions for individuals with movement dysfunction. You’ll find the perfect balance of theory and clinical technique—in-depth discussions of the principles of therapeutic exercise and manual therapy and the most up-to-date exercise and management guidelines.
While most Christians today view art from a distance and Christian discussions of art focus primarily on artists as lonely dreamers, this has not always been the case. In Putting Art (Back) in its Place Dr. John Skillen, an expert in medieval and Renaissance art and literature, calls for the church to come together as one body to reclaim that rich heritage where art touched the entire believing community. For quite some time, art played a vital role in the life of the community, assisting Christian community in performing actions that defined their corporate work and identity (their liturgies). Patrons commissioned artists, advisors helped to determine subject matter, and the whole church celebrated and partook in what was eventually displayed. Skillen offers readers a compelling call to foster a vibrant culture of the arts by restoring and cultivating active and respectful relationships among artists, patrons, scholars, communities and the art they create. Putting Art (Back) in its Place equips laity and clergy to think historically about the vibrant role the visual arts have played--and could again play--in the life of the church and its mission.
A leading art historian’s plea for a more engaged reading of Italian Renaissance art Only Connect constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves by the spectator, that draw the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. John Shearman’s concern is mostly with anterior relationships with the viewer—that is, relationships conceived and constructed as part of a work’s design, making, and positioning. He proposes unconventional ways in which works of art may be distinguished from one another, and in which spectators may be distinguished as well, and enlarges the accepted field of artistic invention. Only Connect challenges us to recognize the presuppositions of Renaissance artists about their viewers, shining a light on the process of discovery by some of the most inventive and intellectual artists of the period.
Fyodor Dostoevsky, Walker Percy, and the Age of Suicide is a study of the phenomenon of suicide in modern and post-modern society as represented in the major fictional works of Fyodor Dostoevsky and Walker Percy. In his study, suicide is understood in both a literal and spiritual sense as referring to both the actual suicides in their works and to the broader social malaise of spiritual suicide, or despair. In the 19th century Dostoevsky called suicide “the terrible question of our age”. For his part, Percy understood 20th century Western culture as “suicidal” in both its social, political and military behavior and in the deeper sense that its citizenry had suffered an ontological “loss of self” or “deformation” of being. Likewise, Thomas Merton called the 20th century an “age of suicide”.
Human sexuality is a very important subject, especially in a cultural context such as ours, in which social and work transformations offer behavioral models that are characterized by a remarkable sexual indeterminacy. In Transcending Gender Ideology, Antonio Malo tries to rethink sexuality with equilibrium and intellectual rigor, using a philosophical approach, since sexuality does not only affect biological aspects or social conditioning, but above all the same essence of the relationship between man and woman. Malo’s reflections begin with the historical evolution of the concept of sexuality: the naturalistic conception, which sees the difference between man and woman as something biological and absolute, and the postmodern conception, which criticizes it by judging human sexuality as a socio-cultural construction or gender. According to Malo, the limitation of the gender approach is to deny the relationship of human sexuality to the body and to the differences between man and woman. In fact, by rejecting these aspects, they end up sustaining a limitless creativity of freedom, which transforms the body into something that is used at will, and relationships as something fluid. Faced with these extremes, Malo proposes a vision of sexuality as a personal condition or sexed condition, received at the time of birth, but which develops, grows and matures through family models, experiences and relationships. Even if based on an original sexual difference, sexed condition covers many other aspects: physical, psychological, social and cultural, as well as behavioral patterns and, above all, the personal integration of sexuality through the gift of oneself in marriage or in celibacy.
Refugees. Border protection. Ethnic gangs. Terrorism. History wars. Pauline Hanson. Australia's faith in multiculturalism has been shaken by fierce attacks from its enemies and a sense of crisis among its friends. Multiculturalism has become a political tool to win votes and generate community anxiety. What is left of the multicultural ideal? Bob Hodge and John O'Carroll take the pulse of multicultural Australia in the wake of September 11. They investigate the hot spots' of multiculturalism, showing how they cluster around fiercely defended boundaries and borders, both literal and symbolic. They tackle the issues of racism past and present, and show how injustice impacts on many communities in Australia, including Aboriginals as well as more recent migrant groups. The authors argue that despite appearances, multiculturalism is alive and well in Australia, and a commitment to tolerance and diversity characterises daily life. In fact, Australia's multiculture is the best kind of borderwork against terrorism, racism and injustice. A timely, original and optimistic discussion of Australia's multicultural past and our possible futures.' Graeme Turner, Director, Centre for Critical and Cultural Studies, University of Queensland This clearly written book shines a welcome light on the fog of critique of Australian multiculturalism from both the Right and the Left.' Jock Collins, Professor of Economics, University of Technology Sydney
Joseph Conrad's novels are recognized as great works of fiction, but they should also be counted as great works of criticism. A voracious reader throughout his life, Conrad wrote novels that question and transform the ideas he encountered in non-fiction, novels, and scientific and philosophic works. Under Conrad's Eyes looks at Conrad's revaluations of some of his important nineteenth-century predecessors - Carlyle, Darwin, Dickens, George Eliot, Dostoevsky, and Nietzsche. Detailed readings of works from Heart of Darkness to Victory explore Conrad's language and style, focusing on questions regarding the will to know and the avoidance of knowledge, the potential harmfulness of sympathy, and the competing instincts for self-preservation and self-destruction. Comparative analyses show how Conrad transforms aspects of Bleak House into The Secret Agent and Middlemarch into Nostromo. Especially compelling are explorations of Conrad's ambivalence towards Carlyle's faith in work and hero-worship as rejuvenators of English culture and his views on Nietzsche's assault on Christianity. This important new study of a novelist of profound contemporary relevance demonstrates how Conrad exemplifies the artist as critic while challenging both the categories we impose on texts and the boundaries we erect between literary periods.
From Russia’s annexation of Crimea to China’s ‘nine-dash line’ in the South China Sea, it is clear that territory is as important in international politics now as it has ever been. Yet too few contemporary foreign policy makers, journalists, and scholars are able to speak coherently about territorial issues. Space Is Power: The Seven Rules of Territory challenges the intellectual conceits that human territoriality is merely a social construct, that territorial sovereignty is atavistic, that territorial annexation is always irrational, and that territorial disputes are provoked by foreign policy makers who seek to divert public attention from more important issues. Space Is Power argues that territoriality is too basic to human nature to be denied and territorial sovereignty is too important to the survival of the modern state to be ignored. The truths about territory are captured in seven rules, some of which are intuitive while others contradict conventional wisdom. Rather than anticipating the transcendence of the territorial states, this book argues that the unmistakable direction of international politics is toward encompassing ever more physical space as the territory of states.
Lying appears to be ubiquitous, what Franz Kafka called "a universal principle”; yet, despite a number of recent books on the subject, it has been given comparatively little genuinely systematic attention by philosophers, social scientists, or even literary theorists. In The Habit of Lying John Vignaux Smyth examines three forms of falsification—lying, concealment, and fiction—and makes a strong critique of traditional approaches to each of them, and, above all, to the relations among them. With recourse to Rene Girard, Paul de Man, Theodor Adorno, Leo Strauss, and other theoreticians not usually considered together, Smyth arrives at some surprising conclusions about the connections between lying, mimesis, sacrifice, sadomasochism, and the sacred, among other central subjects. Arguing that the relation between lying and truthtelling has been characterized in the West by sharply sacrificial features, he begins with a critique of the philosophies of lying espoused by Kant and Sissela Bok, then concludes that the problem of truth and lies leads to the further problem of the relation between law and arbitrariness as well as to the relation between rationality and unanimity. Constructively criticizing the work of such philosophers as Bertrand Russell, Ludwig Wittgenstein, Richard Rorty, and Nelson Goodman, Smyth shows how these problems occur comparably in fiction theory and how Paul de Man’s definition of fiction as arbitrariness finds confirmation in analytic philosophy. Through the novels of Defoe, Stendhal, and Beckett—with topics ranging from Defoe’s treatment of lies, fiction, and obscenity to Beckett’s treatment of the anus and the sacred—Smyth demonstrates how these texts generalize the issues of mendacity, concealment, and sacrificial arbitrariness in Girard’s sense to almost every aspect of experience, fiction theory, and cultural life. The final section of the book, taking its cue from Shakespeare, elaborates a sacrificial view of the history of fashion and dress concealment.
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