Standing at the beginning of the history of modern European verse, the troubadours were the prime poets and composers of the twelfth and thirteenth centuries in the South of France. No study of medieval literature is complete without an examination of the courtly love which is celebrated in the elaborately rhymed stanzas of troubadour verse, creations whose words and melodies were imitated by poets and musicians all over medieval Europe.
The words of about 2,500 troubadour songs have survived, along with 250 melodies, and all have come under intense scholarly scrutiny. This Handbook brings together the fruits of this scrutiny, giving teachers and students an overview of the fundamental issues in troubadour scholarship. All quotations are given in the original Old Occitan and in English. The editors provide a list of troubadour editions and an index, and each chapter includes a list of additional readings.
Yellow stigmatization has had a long history: it goes back to the Middle Ages when Jews and prostitutes were forced to wear yellow signs to emphasize their marginal status. Although scholars have commented on these associations in particular contexts, Sabine Doran offers the first overarching account of how yellow connects disparate cultural phenomena, such as turn-of-the-century decadence (the "yellow nineties"), the rise of mass media ("yellow journalism"), mass immigration from Asia ("the yellow peril"), and mass stigmatization (the yellow star that Jews were forced to wear in Nazi Germany).
The Culture of Yellow combines cultural history with innovative readings of literary texts and visual artworks, providing a multilayered account of the unique role played by the color yellow in late nineteenth- and twentieth-century American and European culture.
Boyd confronts Nabokov's life, career, and legacy; his art, science, and thought; his subtle humor and puzzle-like storytelling; his complex psychological portraits; and his inheritance from, reworking of, or affinities with Shakespeare, Pushkin, Tolstoy, and Machado de Assis. Boyd offers new ways of reading Nabokov's best English-language work: Lolita, Pale Fire, Ada, and the unparalleled autobiography, Speak, Memory, and he discloses otherwise unknown information about the author's world. Sharing his personal reflections, Boyd recounts the adventures, hardships, and revelations of researching Nabokov's biography and his unusual finds in the archives, including materials still awaiting publication. The first to focus on Nabokov's metaphysics, Boyd in fact downplays their importance, instead emphasizing the author's humor, reinvention of narrative possibility, and psychological renderings of various characters to unlock the greater mysteries. Reading Nabokov as novelist, memoirist, poet, translator, scientist, and individual, Boyd further immortalizes his far-reaching, versatile talents.
"FUNNY AND FRANK...A STORY WITH A GREAT DEAL OF HEART."--Graeme Simsion, New York Times bestselling author of THE ROSIE PROJECT
Technically speaking, Hendrik Groen is....elderly. But at age 83 1/4, this feisty, indomitable curmudgeon has no plans to go out quietly. Bored of weak tea and potted geraniums, exasperated by the indignities of aging, Hendrik has decided to rebel--on his own terms. He begins writing an exposé: secretly recording the antics of day-to-day life in his retirement home, where he refuses to take himself, or his fellow "inmates," too seriously.
With an eccentric group of friends he founds the wickedly anarchic Old-But-Not-Dead Club--"Rule #3: No Whining Allowed"--and he and his best friend, Evert, gleefully stir up trouble, enraging the home's humorless director and turning themselves into unlikely heroes. And when a sweet and sassy widow moves in next door, he polishes his shoes, grooms what's left of his hair, and determines to savor every ounce of joy in the time he has left, with hilarious and tender consequences.
A bestselling phenomenon that has captured imaginations around the world, The Secret Diary of Hendrik Groen is inspiring, charming, and laugh-out-loud funny with a deep and poignant core: a page-turning delight for readers of any age.
But we are fortunate in our guide: drawing on his immense knowledge of the classics and of humanists like Erasmus and Rabelais—who used Plato and Aristotle to interpret the Gospels—and incorporating the thoughts of Aesop, Calvin, Lucian of Samosata, Luther, Socrates, and others, Screech shows that Renaissance thinkers revived ancient ideas about what inspires laughter and whether it could ever truly be innocent. As Screech argues, in the minds of Renaissance scholars, laughter was to be taken very seriously. Indeed, in an era obsessed with heresy and reform, this most human of abilities was no laughing matter.
In presenting his arguments, Boyd shows how Nabokov designed Pale Fire for readers to make surprising discoveries on a first reading and even more surprising discoveries on subsequent readings by following carefully prepared clues within the novel. Boyd leads the reader step-by-step through the book, gradually revealing the profound relationship between Nabokov's ethics, aesthetics, epistemology, and metaphysics. If Nabokov has generously planned the novel to be accessible on a first reading and yet to incorporate successive vistas of surprise, Boyd argues, it is because he thinks a deep generosity lies behind the inexhaustibility, complexity, and mystery of the world. Boyd also shows how Nabokov's interest in discovery springs in part from his work as a scientist and scholar, and draws comparisons between the processes of readerly and scientific discovery.
This is a profound, provocative, and compelling reinterpretation of one of the greatest novels of the twentieth century.
In choosing to write in rhymed octosyllabic couplets–Chrétien's prosodic pattern–Dorothy Gilbert has tried to reproduce what so often gets lost in prose or free verse translations: the precise and delicate meter; the rhyme, with its rich possibilities for emphasis, nuance, puns and jokes; and the "mantic power" implicit in proper names. The result will enable the scholar who cannot read Old French, the student of literature, and the general reader to gain a more sensitive and immediate understanding of the form and spirit of Chrétien's poetry, and to appreciate the more Chrétien's great contribution to European literature.
With essays addressing infrastructure and genres, associational practices and protocols, this volume establishes mediation as the condition of possibility for enlightenment. In so doing, it not only answers Kant’s query; it also poses its own broader question: how would foregrounding mediation change the kinds and areas of inquiry in our own epoch? This Is Enlightenment is a landmark volumewith the polemical force and archival depth to start a conversation that extends across the disciplines that the Enlightenment itself first configured.
A long overdue critical look at a significant strain of the twentieth-century avant-garde, 'Pataphysics: The Poetics of Imaginary Science raises important historical, cultural, and theoretical issues germane to the production and reception of poetry, the ways we think about, write, and read it, and the sorts of claims it makes upon our understanding.
The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition.
Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life?
In a careful unraveling of the fabulous and the false, Eco shows us how serendipities—unanticipated truths—often spring from mistaken ideas. From Leibniz's belief that the I Ching illustrated the principles of calculus to Marco Polo's mistaking a rhinoceros for a unicorn, Eco tours the labyrinth of intellectual history, illuminating the ways in which we project the familiar onto the strange.
Eco uncovers a rich history of linguistic endeavor—much of it ill-conceived—that sought to "heal the wound of Babel." Through the Middle Ages and the Renaissance, Greek, Hebrew, Chinese, and Egyptian were alternately proclaimed as the first language that God gave to Adam, while—in keeping with the colonial climate of the time—the complex language of the Amerindians in Mexico was viewed as crude and diabolical. In closing, Eco considers the erroneous notion of linguistic perfection and shrewdly observes that the dangers we face lie not in the rules we use to interpret other cultures but in our insistence on making these rules absolute.
With the startling combination of erudition and wit, bewildering anecdotes and scholarly rigor that are Eco's hallmarks, Serendipities is sure to entertain and enlighten any reader with a passion for the curious history of languages and ideas.
David Quint's introduction freshly examines the literary sources and models of the Cinque Canti and discusses the cultural contexts and historical occasions of the poem. Printed with facing Italian text, this volume allows the modern reader to experience a work of Renaissance literature whose savage beauty still has the power to chill and fascinate.
Although Darwin could find sublimity even in ants or worms, the word "Darwinian" has largely been taken to signify a disenchanted world driven by chance and heartless competition. Countering the pervasive view that the facts of Darwin's world must lead to a disenchanting vision of it, Levine shows that Darwin's ideas and the language of his books offer an alternative form of enchantment, a world rich with meaning and value, and more wonderful and beautiful than ever before. Without minimizing or sentimentalizing the harsh qualities of life governed by natural selection, and without deifying Darwin, Levine makes a moving case for an enchanted secularism--a commitment to the value of the natural world and the human striving to understand it.
Carey's assault on the founders of modern culture caused consternation throughout the artistic and academic establishments when it was first published in 1992.
Gypsies were both idealized and reviled by Victorian and early-twentieth-century Britons. Associated with primitive desires, lawlessness, cunning, and sexual excess, Gypsies were also objects of antiquarian, literary, and anthropological interest. As Nord demonstrates, British writers and artists drew on Gypsy characters and plots to redefine and reconstruct cultural and racial difference, national and personal identity, and the individual's relationship to social and sexual orthodoxies. Gypsies were long associated with pastoral conventions and, in the nineteenth century, came to stand in for the ancient British past. Using myths of switched babies, Gypsy kidnappings, and the Gypsies' murky origins, authors projected onto Gypsies their own desires to escape convention and their anxieties about the ambiguities of identity.
The literary representations that Nord examines have their roots in the interplay between the notion of Gypsies as a separate, often despised race and the psychic or aesthetic desire to dissolve the boundary between English and Gypsy worlds. By the beginning of the twentieth century, she argues, romantic identification with Gypsies had hardened into caricature-a phenomenon reflected in D. H. Lawrence's The Virgin and the Gipsy-and thoroughly obscured the reality of Gypsy life and history.
European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book.
Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation, and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.
“There is much to like about a book which
gets real about the male anus as a site of penetrability which is not
reducible to discourses of feminization, phallicization or psychosis.
With real panache and poetic flair, it returns us to an earlier moment
in queer theoretical discourse we would associate with Lee Edelman’s Homographesis (easily the best book ever written in queer theory and every page of The Penetrated Male reminded me of it), Calvin Thomas’ Male Matters,
and Leo Bersani’s “Is the Rectum a Grave?” Given the recent
squeamishness … in queer theoretical circles about shit, anality, and
penetrability, there is real value (and it is not some sort of nostalgia
for an earlier moment we might want to get back to) in this book which never shies away from any of these matters. As embodied and eroticized theory, it fills a much needed hole in contemporary discourse about the male body. It is a book I should like to have written.”
~ Michael O’Rourke
Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs),
this book explores and interrogates the figure of the penetrated male
body, developing the concept of the behind as a site of both fascination
and fear. Deconstructing the penetrated male body and the genderisation
of its representation, The Penetrated Male offers new
understandings of passivity, suggesting that the modern masculine
subject is predicated on a penetrability it must always disavow. Arguing
that representation is the embodiment of erotic thought, it is an
important contribution to queer theory and our understandings of
Jameson supports his thesis by looking closely at the nature of interpretation. Our understanding, he says, is colored by the concepts and categories that we inherit from our culture's interpretive tradition and that we use to comprehend what we read. How then can the literature of other ages be understood by readers from a present that is culturally so different from the past? Marxism lies at the foundation of Jameson's answer, because it conceives of history as a single collective narrative that links past and present; Marxist literary criticism reveals the unity of that uninterrupted narrative.
Jameson applies his interpretive theory to nineteenth- and twentieth-century texts, including the works of Balzac, Gissing, and Conrad. Throughout, he considers other interpretive approaches to the works he discusses, assessing the importance and limitations of methods as different as Lacanian psychoanalysis, semiotics, dialectical analysis, and allegorical readings. The book as a whole raises directly issues that have been only implicit in Jameson's earlier work, namely the relationship between dialectics and structuralism, and the tension between the German and the French aesthetic traditions.
The Political Unconscious is a masterly introduction to both the method and the practice of Marxist criticism. Defining a mode of criticism and applying it successfully to individual works, it bridges the gap between theoretical speculation and textual analysis.
Examining a variety of media ranging from scientific writings to literature and the visual arts, the authors trace gendered discourses as they developed to make sense of and regulate emerging new images of femininity. Besides treating classic films such as Metropolis and Berlin: Symphony of a Great City, the articles discuss other forms of mass culture, including the fashion industry and the revue performances of Josephine Baker. Their emphasis on women's critical involvement in the construction of their own modernity illustrates the significance of the Weimar cultural experience and its relevance to contemporary gender, German, film, and cultural studies.
Schwab's texts include memoirs (Ruth Kluger's Still Alive and Marguerite Duras's La Douleur), second-generation accounts by the children of Holocaust survivors (Georges Perec's W, Art Spiegelman's Maus, and Philippe Grimbert's Secret), and second-generation recollections by Germans (W. G. Sebald's Austerlitz, Sabine Reichel's What Did You Do in The War, Daddy?, and Ursula Duba's Tales from a Child of the Enemy). She also incorporates her own reminiscences of growing up in postwar Germany, mapping networks of interlaced memories and histories as they interact in psychic life and cultural memory. Her critical approach draws on theories from psychoanalysis, postcolonialism, and trauma studies, and Schwab concludes with a bracing look at issues of responsibility, reparation, and forgiveness across the victim/perpetrator divide.
As well as skillful and fluent verse renderings of the 366 lyrics that make up this milestone in the development of Western poetic tradition, Musa offers copious and up-to-date annotation to each poem... along with a substantial, sensitive, and intelligent introduction that is genuinely helpful for the first-time reader and thought provoking for Petrarch scholars and other medievalists." —Choice
The 366 poems of Petrarch’s Canzoniere represent one of the most influential works in Western literature. Varied in form, style, and subject matter, these "scattered rhymes" contains metaphors and conceits that have been absorbed into the literature and language of love. In this bilingual edition, Mark Musa provides verse translations, annotations, and an introduction co-authored with Barbara Manfredi.
This collection of commentaries on the first part of the Comedy consists of commissioned essays, one for each canto, by a distinguished group of international scholar-critics. Readers of Dante will find this Inferno volume an enlightening and indispensable guide, the kind of lucid commentary that is truly adapted to the general reader as well as the student and scholar.
"In the spirit of Julian Barnes's Flaubert's Parrot and Alain de Botton's How Proust Can Change Your Life, Mr. Dyer's Out of Sheer Rage keeps circling its subject in widening loops and then darting at it when you least expect it . . . a wild book."--Christopher Lehmann-Haupt, The New York Times
Geoff Dyer was a talented young writer, full of energy and reverence for the craft, and determined to write a study of D. H. Lawrence. But he was also thinking about a novel, and about leaving Paris, and maybe moving in with his girlfriend in Rome, or perhaps traveling around for a while. Out of Sheer Rage is Dyer's account of his struggle to write the Lawrence book--a portrait of a man tormented, exhilarated, and exhausted. Dyer travels all over the world, grappling not only with his fascinating subject but with all the glorious distractions and needling anxieties that define the life of a writer.
Comparison expands upon a special issue of the journal New Literary History, which analyzed theories and methodologies of comparison. Six new essays from senior scholars of transnational and postcolonial studies complement the original ten pieces. The work of Gayatri Chakravorty Spivak, Ella Shohat, Robert Stam, R. Radhakrishnan, Bruce Robbins, Ania Loomba, Haun Saussy, Linda Gordon, Walter D. Mignolo, Shu-mei Shih, and Pheng Cheah are included with contributions by anthropologists Caroline B. Brettell and Richard Handler. Historical periods discussed range from the early modern to the contemporary and geographical regions that encompass the globe. Ultimately, Comparison argues for the importance of greater self-reflexivity about the politics and methods of comparison in teaching and in research.-- Eric Hayot, Pennsylvania State University