Emily Dickinson's Poetic Art is both an exciting work of literary criticism on a central figure in American literature as well as an invitation for students and researchers to engage with cognitive literary studies. Emily Dickinson's poetry can be challenging and difficult. It paradoxically gives readers a feeling of closeness and intimacy while being puzzling and obscure. Critical interpretations of Dickinson's poems tend to focus on what they mean rather than on what kind of experience they create. A cognitive approach to literary criticism, based on recent cognitive research, helps readers experience and understand the hows and whys of what a poem is saying and doing. These include cognitive linguistic analysis, versification, prosody, cognitive metaphor, schema, blending, and iconicity, all of which explain the sensory, motor, and emotive processes that motivate Dickinson's conceptualizations. By experiencing Dickinson's poetry from a cognitive perspective, readers are able to better understand why we feel so close to the poet and why her poetry endures. Emily Dickinson's Poetic Art: A Cognitive Reading is an important contribution to the study of a major American poet as well as to the vibrant field of cognitive literary studies.
This first comprehensive presentation of this collection from the Cleveland Museum of Art, includes paintings by Monet, Degas, Renoir, Boudin and Manet among other innovative artists of the Impressionist and Post-Impressionist period. Each painting is presented with descriptions detailing the artist's motifs and context of the work in the Impressionist era. The title, with its essays and over 100 colour plates, provides a thorough focus of the dramatic artistic development of the century between 1850 and 1950 through the remarkable pieces of this collection. 100 colour Illustrations
In 2008 and 2009, the United States Congress apologized for the “fundamental injustice, cruelty, brutality, and inhumanity of slavery.” Today no one denies the cruelty of slavery, but few issues inspired more controversy in the eighteenth and nineteenth centuries. Abolitionists denounced the inhumanity of slavery, while proslavery activists proclaimed it both just and humane. Margaret Abruzzo delves deeply into the slavery debate to better understand the nature and development of humanitarianism and how the slavery issue helped shape modern concepts of human responsibility for the suffering of others. Abruzzo first traces the slow, indirect growth in the eighteenth century of moral objections to slavery's cruelty, which took root in awareness of the moral danger of inflicting unnecessary pain. Rather than accept pain as inescapable, as had earlier generations, people fought to ease, discredit, and abolish it. Within a century, this new humanitarian sensibility had made immoral the wanton infliction of pain. Abruzzo next examines how this modern understanding of humanity and pain played out in the slavery debate. Drawing on shared moral-philosophical concepts, particularly sympathy and benevolence, pro- and antislavery writers voiced starkly opposing views of humaneness. Both sides constructed their moral identities by demonstrating their own humanity and criticizing the other’s insensitivity. Understanding this contest over the meaning of humanity—and its ability to serve varied, even contradictory purposes—illuminates the role of pain in morality. Polemical Pain shows how the debate over slavery’s cruelty played a large, unrecognized role in shaping moral categories that remain pertinent today.
Winner of the Berkshire Conference of Women Historians Prize In volume one of this landmark study, focusing on developments up to 1940, Margaret Rossiter describes the activities and personalities of the numerous women scientists—astronomers, chemists, biologists, and psychologists—who overcame extraordinary obstacles to contribute to the growth of American science. This remarkable history recounts women's efforts to establish themselves as members of the scientific community and examines the forces that inhibited their active and visible participation in the sciences.
In Lyric Contingencies Margaret Dickie brings Wallace Stevens and Emily Dickinson together to explore the ways in which the lyric genre is eccentric to, even disruptive of, the Emersonian tradition that has shaped American literary history. Dickie contends that although Stevens and Dickinson represent different moments of cultural crises, different genders, and different and private lives, they faced similar problems of expression and similar formal and cultural restraints in their devotion to the lyric genre. Dickie considers those elements of the lyric that set it apart from both prose and narrative poetry: its speaker, its insistence on artifice, and its relation to an audience. By concentrating on these, she examines the radically experimental ways in which Dickinson and Stevens used the genre to question cultural certainties of gender, language, and the nature of the individual.
They go by many names: helicopter parents, hovercrafts, PFHs (Parents from Hell). From baby monitors to cell phones (often referred to as the world's longest umbilical cord), to social networking sites, and even GPS devices, parents have more tools at their disposal than ever before to communicate with, supervise, and even spy on their children. Situating this phenomenon within a broad sociological context, Margaret K. Nelson, finds several striking explanations for why today's prosperous and well-educated parents are unable to set realistic boundaries when it comes to raising their children -- from cover.
Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment.
Today's heated debates over social issues such as abortion, birth control, ethnicity, immigration, race, religion, sexual behavior, and welfare did not begin in the 1960s. They began in the last years of the nineteenth century and reached their zenith in the 1920s, when this book sold over 200,000 copies. Here is all the text of Margaret Sanger's 1922 best-seller along with 31 chapters by her contemporaries to set what she advocated in historical perspective. This is not history told after the fire and passion have died out. These are words spoken in the heat of battle, at a time when Sanger and others believed that the fate of civilization depended on their ideas winning acceptance here and around the world.
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