The Law of the Heart is a vigorous challenge to the prevailing concept of the “antidemocratic” image of the self in the American literary and cultural tradition. Sam B. Girgus counters this interpretation and attempts to develop a new understanding of democratic individualism and liberal humanism in American literature under the rubric of literary modernism. The image of the individual self who retreats inward, conforming to a distorted “law of the heart,” emerges from the works of such writers as Cooper and Poe and composer Charles Ives. Yet, as Girgus shows, other American writers relate the idea of the self to reality and culture in a more complex way: the self confronts and is reconciled to the paradox of history and reality. In Girgus’ view, the tradition of pragmatic, humanistic individualism provides a foundation for a future where individual liberty is a major priority. He uses literary modernism as a bridge for relating contemporary social conditions to crises of the American self and culture as seen in the works of writers including Emerson, Howells, Whitman, Henry James, William James, Fitzgerald, Bellow, and McLuhan.
The Etruscans, a revenant and unusual people, had an Italian empire before the Greeks and Romans did. By the start of the Christian era their wooden temples and writings had vanished, the Romans and the early church had melted their bronze statues, and the people had assimilated. After the last Etruscan augur served the Romans as they fought back the Visigoths in 408 CE, the civilization disappeared but for ruins, tombs, art, and vases. No other lost culture disappeared as completely and then returned to the same extent as the Etruscans. Indeed, no other ancient Mediterranean people was as controversial both in its time and in posterity. Though the Greeks and Romans tarred them as superstitious and decadent, D.H. Lawrence praised their way of life as offering an alternative to modernity. In The Etruscans in the Modern Imagination Sam Solecki chronicles their unexpected return to intellectual and cultural history, beginning with eighteenth-century scholars, collectors, and archaeologists. The resurrection of this vanished kingdom occurred with remarkable vigour in philosophy, literature, music, history, mythology, and the plastic arts. From Wedgwood to Picasso, Proust to Lawrence, Emily Dickinson to Anne Carson, Solecki reads the disembodied traces of Etruscan culture for what they tell us about cultural knowledge and mindsets in different times and places, for the way that ideas about the Etruscans can serve as a reflection or foil to a particular cultural moment, and for the creative alchemy whereby artists turn to the past for the raw materials of contemporary creation. The Etruscans are a cultural curiosity because of their disputed origin, unique language, and distinctive religion and customs, but their destination is no less worthy of our curiosity. The Etruscans in the Modern Imagination provides a fascinating meditation on cultural transmission between ancient and modern civilizations.
In his philosophy of ethics and time, Emmanuel Levinas highlighted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships-associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B. Girgus applies Levinas's ethics to a variety of international films. His efforts point to a transnational pattern he terms the "cinema of redemption" that portrays the struggle to connect to others in redeeming ways. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity. He also locates time and ethics within the structure and content of film itself. Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, engaging with a feminist focus on the sexualized female body. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's Mr. Smith Goes to Washington (1939), Federico Fellini's La dolce vita (1959), Michelangelo Antonioni's L'avventura (1960), John Huston's The Misfits (1961), and Philip Kaufman's The Unbearable Lightness of Being (1988).
The extraordinary story of the Nazi-era scientific genius who discovered how cancer cells eat—and what it means for how we should. The Nobel laureate Otto Warburg—a cousin of the famous finance Warburgs—was widely regarded in his day as one of the most important biochemists of the twentieth century, a man whose research was integral to humanity’s understanding of cancer. He was also among the most despised figures in Nazi Germany. As a Jewish homosexual living openly with his male partner, Warburg represented all that the Third Reich abhorred. Yet Hitler and his top advisors dreaded cancer, and protected Warburg in the hope that he could cure it. In Ravenous, Sam Apple reclaims Otto Warburg as a forgotten, morally compromised genius who pursued cancer single-mindedly even as Europe disintegrated around him. While the vast majority of Jewish scientists fled Germany in the anxious years leading up to World War II, Warburg remained in Berlin, working under the watchful eye of the dictatorship. With the Nazis goose-stepping their way across Europe, systematically rounding up and murdering millions of Jews, Warburg awoke each morning in an elegant, antiques-filled home and rode horses with his partner, Jacob Heiss, before delving into his research at the Kaiser Wilhelm Society. Hitler and other Nazi leaders, Apple shows, were deeply troubled by skyrocketing cancer rates across the Western world, viewing cancer as an existential threat akin to Judaism or homosexuality. Ironically, they viewed Warburg as Germany’s best chance of survival. Setting Warburg’s work against an absorbing history of cancer science, Apple follows him as he arrives at his central belief that cancer is a problem of metabolism. Though Warburg’s metabolic approach to cancer was considered groundbreaking, his work was soon eclipsed in the early postwar era, after the discovery of the structure of DNA set off a search for the genetic origins of cancer. Remarkably, Warburg’s theory has undergone a resurgence in our own time, as scientists have begun to investigate the dangers of sugar and the link between obesity and cancer, finding that the way we eat can influence how cancer cells take up nutrients and grow. Rooting his revelations in extensive archival research as well as dozens of interviews with today’s leading cancer authorities, Apple demonstrates how Warburg’s midcentury work may well hold the secret to why cancer became so common in the modern world and how we can reverse the trend. A tale of scientific discovery, personal peril, and the race to end a disastrous disease, Ravenous would be the stuff of the most inventive fiction were it not, in fact, true.
This is a clear, incisively written narrative history of American anxiety about British domination---political, military, economic, cultural---from the War of 1812 to the mid-nineteenth century. Unfinished Revolution's predominant thoughtfulness and readable verve across a very extensive canvass should commend it to a wide range of readers as a valuable reconnaissance of what was arguably the most consequential national anxiety faced by the `young republic' during its middle period."---Lawrence Buell, Harvard University --
This book asks what it means to write poetry in and about the Anthropocene, the name given to a geological epoch where humans have a global ecological impact. Combining critical approaches such as ecocriticism and posthumanism with close reading and archival research, it argues that the Anthropocene requires poetry and the humanities to find new ways of thinking about unfamiliar spatial and temporal scales, about how we approach the metaphors and discourses of the sciences, and about the role of those processes and materials that confound humans’ attempts to control or even conceptualise them. Poetry and the Anthropocene draws on the work of a series of poets from across the political and poetic spectrum, analysing how understandings of technology shape literature about place, evolution and the tradition of writing about what still gets called Nature. The book explores how writers’ understanding of sciences such as climatology or biochemistry might shape their poetry’s form, and how literature can respond to environmental crises without descending into agitprop, self-righteousness or apocalyptic cynicism. In the face of the Anthropocene’s radical challenges to ethics, aesthetics and politics, the book shows how poetry offers significant ways of interrogating and rendering the complex relationships between organisms and their environments in a world increasingly marked by technology.
Many religious scholars have noted a decline in institutional forms of religion in Canada. With fewer Canadians regularly attending church or following denominational proscriptions, is institutionalized religion becoming a thing of the past? In A Culture of Faith, Sam Reimer and Michael Wilkinson argue that evangelical Protestants continue to show strong allegiance to their congregations. Through a national study, including interviews with over five hundred pastors and an analysis of financial resources, the authors argue that evangelical Protestant congregations demonstrate greater resiliency within a broader context of declining religiosity. According to their findings, weekly church attendance among evangelicals is substantially higher than the national average, church attendees say they get significant enjoyment from their religious groups, youth participation is high, and evangelicals are more likely to volunteer. While there may be signs of decline on the horizon, Canadian evangelical congregations seem to remain vital at a time when most other Christian traditions are waning. A clearly presented study of evangelical beliefs, organizations, leaders, and finances, A Culture of Faith reveals the current strength of evangelical Protestantism and its implications for the future of religion in Canada.
Writers have a reputation of being tortured souls languishing among the living. Does the unrest continue in the afterlife? Sam Baltrusis, author of Wicked Salem: Exploring Lingering Lore andLegends, revisits the haunts associated with America’s most beloved writers of ghost stories, including Edgar Allan Poe’s enduring legacy in New York City to Nathaniel Hawthorne’s indelible imprint at the House of the Seven Gables in Salem, Massachusetts. Armed with the ghost lore and legends associated with these unforgettable literary icons, Baltrusis breathes new life into the long departed.
Brilliant, prolific, uniquely American, Pulitzer prizewinning playwright Sam Separd is a major voice in contemporary theatre. And here are seven of his very best. "One of the most original, prolific and gifted dramatists at work today."—The New Yorker "The greatest American playwright of his generation...the most inventive in language and revolutionary in craft, [he] is the writer whose work most accurately maps the interior and exterior landscapes of his society."—New York Magazine "If plays were put in time capsules, future generations would get a sharp-toothed profile of life in the U.S. in the past decade and a half from the works of Sam Shepard."—Time "Sam Shepard is the most exciting presence in the movie world and one of the most gifted writers ever to work on the American stage."—Marsha Norman, Pulitzer prizewinning author of ‘Night, Mother. "One of our best and most challenging playwrights...his plays are a form of exorcism: magical, sometimes surreal rituals that grapple with the demonic forces in the American landscape."—Newsweek "His plays are stunning in thier originality, defiant and inscrutable."—Esquire "Sam Shepard is phenomenal..the best practicing American playwright."—The New Republic
Corn is history, corn is economy, corn is epicurean delight. As far as the eye can see, as fragrant as summer, visions of cornfields wrap around our senses like a silky husk on a fresh ear of golden kernels. Corn is big business, harvested on half of Indiana's 12 million agricultural acres. In Corn Country, author Sam Stall and photographer Darryl Jones delight readers with their verbal and visual chronicle of Indiana's love affair with its favorite crop.
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