Bücher veröffentlicht von Cambria Press

From the Edo-period works of Chikamatsu Monzaemon and Saikaku Iharu, to modern texts by Nagai Kafû, Tanizaki Junichiro, and Nobel-prize winner Kawabata Yasunari, the Japanese literary canon is filled with works about the demimonde, or karyûkai. After years of being closed off to Western influences on both its literature and social policy, Japan fully opened up to the West in the late nineteenth century and finally abolished legalized prostitution in 1956. Until then, the idea of a space set aside for sexuality, like Tokyo's Yoshiwara district, had been a powerful catalyst in structuring stories about the demimonde, and in fact, narratives about the demimonde have continued to flourish in Japan even in the second half of the 20th century and beyond, even though the actual physical space of the traditional karyûkai has disappeared. In breadth and accomplishment, Japan's demimonde literature rivals that of any other national literature; yet very little work analyzing the cultural, psychological, and textual significance of this space has been published to date. What is more, bringing comparative approaches to Japanese literary studies is a relatively new phenomenon, but Western literature is essential to understanding both the wider context in which demimonde literature blossomed, as well as to probing what is unique about Japan's karyûkai-themed texts. The Demimonde in Japanese Literature applies both a comparativist approach and psychoanalytic models to the examination of the literary karyûkai in a way that allows for a penetrating and multi-dimensional reading of its meaning in works produced during Japan's tumultuous twentieth century. This book analyzes representations of the demimonde in Japanese literature and other arts from the beginning of the twentieth century to the early 1990s, through fiction, critical essays, films, photographs, and performances by Nagai Kafû, Kôda Aya, Tanizaki Junichiro, Kuki Shûzô, Mishima Yukio, Hosoe Eikoh, Tamura Taijiro, Murakami Ryû, Ohno Kazuo, and Matsumoto Toshio. Throughout the book, the author views the demimonde in general and the karyûkai in particular through the changing paradigms of spatial terms and configurations in the twentieth-century Japanese imagination. In some narratives written during the pre-World War II period, for instance, the karyûkai is distanced from the reader by the connoisseur as a way of containing and idealizing it in 1930s Japan, in a climate of intense censorship and military imperialism; in others it is chronicled as disruptive to public space, its values and fetishes spreading into new physical spaces in the tumultuous interwar Tokyo metropole. During the postwar era, as the book's close readings show, the demimonde is often shown to transcend psychic space via the taboo movement of memory, and occasionally it is internalized in the text via a celebration of small spaces and a poetics of dwelling. Surveying such a variety of writings and artists allows for a thorough analysis of the representation of the space of the demimonde not just in literary texts, but in films, photographs, and dance/performance art as well. The study also draws on comparative examples from Western demimonde texts, especially those that were pivotal for Japanese writers and artists, and she uses them to formulate a complex argument about the socio-cultural, psychological, aesthetic, literary, and political significance of the space of the karyûkai. The book also helpfully includes translated passages from books that were not previously translated in their entirety into English, including Koda Aya's Nagareru. The Demimonde in Japanese Literature is an important book for all Asian studies, comparative literature, and women's studies collections.

Sixteenth-century China experienced an economic transformation which saw the spread of commercialization and a consumerist material culture that pervaded all aspects of life. As society began to respond to the economic transformation, the ideology and culture of patriarchal descent-line ethics, hitherto an urban, literati trend, began to find resonance among up-and-coming literati families within rural communities. By the end of the sixteenth century, Chinese society, especially in the Jiangnan region and along the southeastern coast, had began to make the transition from the lijia system of household registration into corporate groups overtly organized by kinship relations and unified by the common symbols of the ancestral hall, lineage trust estates, compilation of lineage genealogies and in the symbolic performance of ancestral sacrificial rituals. At the same time, the middle decades of the sixteenth century saw the growing incidence of Japanese wokou piracy along the southeastern coast of China. The county of Haining in Zhejiang province was one such victim of the depredations of the wokou. Yet by the end of the century, it had also been transformed from a rural backwater into a prosperous area known for its lineages which enjoyed literary fame and official influence. The process by which groups within the local community of Haining created their identities as lineages is the focus of this study. While there has been much discussion about the wokou crisis, little attention has been paid to the impact of the wokou upon the littoral societies. Along the coast, the limited reach of the Ming empire was given a boost by the appointment of an anti-wokou administration which in turn marked the beginning of a more extensive incorporation of the maritime periphery into the larger administrative structure. The process of incorporation would have presented opportunities for interested parties to gain political legitimacy and social ascendancy through the adoption of patriarchal descent-line ethics and its accompanying rituals and cultural symbols. This book thus examines the appearance of lineage society in Haining against the background of the wokou raids and the problems brought about by the anti-wokou campaign. This is the first study that takes the innovative and unique approach of linking the rise of lineage organization in Haining, Zhejiang province, to wokou activity. By using Haining as the geographical focus of research, this study provides a good comparative study to published works on Chinese lineage organization which had focused largely on Guangdong, Fujian and Anhui provinces. Through the use of previously un-utilized genealogical records of the lineages resident in Haining, the story of how the local groups in Haining responded to the wokou raids through adopting imperially sanctioned ritual practices and cultural symbols to negotiate the transformation of their local communities into the Neo-Confucian model of corporate family organization emerges. The impact of this transitional process within the local community is extrapolated in the case studies of inter-lineage and intra-lineage conflicts. At the same time, the true extent and impact of the wokou crisis, long held by scholars to be of devastating effect on the Ming polity, is also re-examined. Lineage Society on the Southeastern Coast of China is an important book for Asian studies and history collections.

This book examines three overarching themes: Chinese modernity's (sometimes ambivalent) relationship to tradition at the start of the twentieth century, the processes of economic reform started in the 1980s and their importance to both the eradication and rescue of traditional practices, and the ideological issue of cosmopolitanism and how it frames the older academic generation's attitudes to globalisation. It is important to grasp the importance of these points as they have been an important part of the discourse surrounding contemporary Chinese visual culture. As readers progress through this book, it will become clear that the debates surrounding visual culture are not purely based on aesthetics--an understanding of the ideological issues surrounding the appearance of things as well as an understanding of the social circumstances that result in the making of traditional artifacts are as important as the way a traditional object may look. Contemporary Chinese Visual Culture is an important book for all collections dealing with Asian studies, art, popular culture, and interdisciplinary studies.

This book explores the intersection of public policy and the fast changing digital media economy. Over the last 20 years, digital technologies and digital content have revolutionized many aspects of social, economic and political life around the world. Governments, locked into the policies and programs of the traditional economy, are struggling to respond to this dynamic and commercially unique global ecosystem. This study examines the nature and extent of the digital economy, looking at both the commercial diversity within the sector and the different digital implementations across the world. While the digital engagement of North America is well known, the scale and intensity of digital growth in East Asia is not fully understood not are the transformative changes occurring in parts of Africa. The digital world is marked by the unexpected and rapid re-orientation of economic, social, cultural and political affairs. The digitization of work, for example, has already brought major disruptions within national economies. Governments are struggling to respond, in part because of pressures from the traditional industrial and resource sectors but also because of the unique, somewhat anarchistic nature of the digital content industry. The Global Digital Economy provides a profile of the global digital environment, reviews current government digital policies (with an emphasis on innovative strategies), and offers policy suggestions for national and subnational governments. Countries that respond creatively to the digital economy--like Taiwan, South Korea, Finland and Israel--stand to prosper from the anticipated accelerated growth of the sector. Those nations that struggle to keep pace with the digital infrastructure needs of the new economy and with the potential for employment and business creation stand to fall behind economically. This book provides a policy roadmap for the digital economy and identifies the risks and opportunities of this core sector in the twenty-first-century economy.

The problem of language constituted the most contentious subject of the philosophies and human sciences in the twentieth-century and drove what came to be known as the linguistic turn to Western thought. Phenomenology, linguistics, analytic philosophy, speech act theory, anthropology, psychology, poststructuralism, media studies, and ordinary language philosophy all addressed language as the primary vehicle of human thought and communication, and queried whether any accurate linguistic representation of reality were possible. The sound of the human voice lay at the center of the debate. The central question raised by Husserl s phenomenology and de Saussure s linguistics, and discussed throughout the century, concerned whether the sounds of the voice were intrinsic to meaning or were simply relative. In a related phenomenon, vocal experimentation marked the twentieth-century avant garde, which included the nonsense verbal texts of Dada; the electronic mediations of Samuel Beckett and Peter Handke; and the playful, ironic, and confrontational performances of Laurie Anderson, Karen Finley, and the Wooster Group. The experiments mirrored the fixation with voice and language as expressed in the philosophies and sciences. Yet despite the centrality of the voice for the philosophy of language, linguistic study, and performance, no book-length study before now has focused solely on vocal expression. The voice ranks with gesture as one of two media of communication available to every fully able-bodied human being, and yet theatre studies tends to take a visual approach to its objects of critique: the body, the dramatic text, and the mise-en-sc ne. Because the voice registers as a crucial media of expression in the theatre, theatre studies also can provide valuable contributions to the discussion of voice and language undertaken in other disciplines. The theatre as a social and public art form reveals a great deal about what we think and feel in regards to our communications with each other. Dramatic Theories of Voice in the Twentieth Century is the first book of theatre studies to identify and articulate theories of voice as expressed in the philosophies, human sciences, and physical sciences of the twentieth century. It also identifies parallels between the theories and the vocal practices of twentieth-century performances that shared similar concerns with issues of language and mediation. This book adopts as a central premise that the introduction and proliferation of electronic forms of communication stimulated the interest in voice and language in the scholarly discourses of the twentieth century and stimulated as well the fascination with the sounds of the voice as expressed in the twentieth-century avant garde. Dramatic Theories of Voice in the Twentieth Century is the only book of theatre and performance studies to address the sounds of the human voice and as such ranks as an invaluable addition to all theatre, philosophy, performance studies, communications, and cultural studies collections.

Discussion on Pacific literature invariably focuses on anglophone, and sometimes francophone, writing, and efforts to assert local cultures against Western influence. But, the Pacific has also been a site for dramatizing Japanese fears and desires in Japanese writing. These arose from its imperialist expansion and its concern over the activities of other powers in the Pacific region. Japanese colonial, military, economic, and tourist involvement in the Pacific has been a target for criticism on the part of writers from Oceania. Most contemporary Japanese literary texts portray the Pacific Islands as the most backward part of the world. Such Japanese attitudes toward the Pacific Islands are characterized by a lack of dialogue with the islanders and their views of Oceania. This book mainly deals with twentieth-century discourses on postcolonial relationships between Japanese and Pacific Islanders, as have been produced and transformed through the world powers colonial dynamics over the islands and sea. It examines Japanese images or representations of the area, especially Micronesia on which the term Nanyo centered and considers responses from Pacific Island writers in English. Through such comparisons of Japanese and Pacific Islander texts, this book connects postcolonial representations of the Pacific from Japan and the Pacific Islands to examine trans-Pacific cultural movements involved with Japan. In doing so, it brings to light the Pacific as a locale of diverse subjects coming together over imperialist regimes. This book presents the incomplete, unstable, and fluid decolonizations produced from vantage points of the colonizer colonized, diasporic returnees, emigrants, and hybrids. The Pacific reemerges as a palimpsestic communal space concerned with wa: harmony, unity, peace, mildness, pacific, and Japanese. Relating and encompassing imperial and anti-imperial cultures, and drawing their fangs, the wa space produces oceanic decolonization. Nanyo-Orientalism is an important book for Japanese and Pacific studies, comparative literature and culture, and postcolonial studies.

This is a collection of seven contemporary American plays (six of them by gay playwrights) that depict the lives of gay men in the years before gay liberation and in our own time. All of these plays have been successfully produced by major American theaters and all have received critical acclaim. The first three works in the collection-Robert O' Hara's Antebellum, Joseph and David Zellnik's Yank!, and Jon Marans's The Temperamentals-demonstrate gay playwrights' impulse to share the history of oppression and liberation gay men have faced. The remaining four plays-Guillermo Reyes's Deporting the Divas, Stephen Karam's Sons of the Prophet, Neal Bell's Spatter Pattern and Jose Rivera's Pablo and Andrew at the Altar of Words-offer depictions of the ways in which gay men have and have not assimilated in the twenty-first century. These plays also deal with larger sociopolitical issues: racism, war, immigration, unemployment and same-sex marriage. They also dramatize experiences common to everyone: illness, grief, guilt, and familial and romantic love. As these seven plays dramatize a variety of personal and social issues, they also demonstrate a variety of dramatic styles, from realism to flamboyant gender-bending to musical theater. They offer a good introduction to the stylistic richness and variety of contemporary American theater. In addition to a general introduction, each play is preceded by a critical introduction. In most cases, the playwrights have also provided statements about their work. Gay Drama Now offers a sampling of the best of contemporary drama about the gay experience in America. Written by some of the most celebrated playwrights working today, from veteran playwrights like Jose Rivera and Neal Bell to younger writers like Stephen Karam and Robert O'Hara. It represents the work of African-American, Latino and white playwrights. This volume should appeal to readers interested in American drama, particularly drama of this century. It will also appeal to students of gay and lesbian studies.

This book is a comprehensive compilation of results from eight major research reports released in 2012 by the Pew Research Center and Elon University. In The Future of the Internet Survey V, more than 1,000 experts shared their views as they imagined the future of the Internet and: the always-on, hyperconnected generation in their teens-to-20s by 2020; the mobile Web, HTML5, and native apps; e-money, mobile wallets, and financial transactions through near-field communication; gamification--the influence of game mechanics implemented for interactivity and engagement; "e;smart systems"e; and the evolution of more efficient homes; corporate responsibility in the digital age; the influence of "e;Big Data"e; in the cloud; and the future of higher education.

While other studies have examined the history of cable television regulation, none has fully explained why the FCC struggled to develop regulations during its formative years. In this study, Michael Zarkin helps fill this gap by providing such an explanation through an application of organizational learning theory. Zarkin argues that in order for the FCC to formulate regulations for a brand-new communications medium, it first needed develop and effectively utilize the capacity to gather and analyze policy-relevant knowledge. By the 1970s, conditions were ripe for this to happen, and the FCC was able to more effectively revise its cable television policies. This book elaborates and applies an organizational learning framework that contributes to our understanding of how regulatory agencies operate. By employing a broad range of published and unpublished primary sources, the book also succeeds in providing a more detailed and penetrating study of cable television than previous endeavors. Rather than simply summarizing and critiquing policy decisions, the book paints a picture of the people, ideas, and politics that shaped cable television regulation during these formative years. The FCC and the Politics of Cable TV Regulation, 1952-1980 will be of interest to scholars who study regulatory agencies, the policy process, and communications law and policy.

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes several journals to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its website at http://www.businessresearchconsortium.org

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes five journals (including The BRC Journal of Advances in Education) to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its Web site at http://www.businessresearchconsortium.org (Online) ISSN 2152-873X (Print) ISSN 2152-8721

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes five journals (including The BRC Journal of Advances in Education) to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its Web site at http: //www.businessresearchconsortium.org (Online) ISSN 2152-8780 (Print) ISSN 2152-875

As the twentieth century dawned, artists and writers increasingly felt that realistic themes and realistic techniques were inadequate to address the human condition. Convinced that there was more to reality than physical appearance, they turned their gaze inward and adopted a number of unconventional approaches. Paradoxically, considering that they strove to give a more faithful impression of reality, their experiments were overwhelmingly anti-realistic. Some artists and writers, such as the cubist and the futurist poets, subverted traditional rhetorical devices. Others, like the cubist and the metaphysical artists, invented new spatio-temporal constructions. Some individuals, including the cubists and futurists, borrowed freely from other disciplines. Others, especially the dadaists and the surrealists, cultivated nonsense and illogicality. Focusing on basic principles and drawing on their personal experience, poets and painters writers began to explore subjective reality, which proved to be far more interesting than its objective counterpart. As they soon discovered, the quest for a new reality required the creation of a new language that could express that reality. Each goal was inextricably bound up with the other in a relationship that was fundamentally reciprocal. Artists and writers searched for a language that would express the complexity of the modern world while revolutionizing traditional aesthetics. Visual imagination demanded linguistic innovation and vice versa. Language and vision were entwined in a double helix like a strand of DNA. Rather than opposite sides of the same aesthetic coin, they represented complementary ways of processing experience. So important were vision and expression to the vanguard enterprise that this double quest soon became obligatory--an "avant-garde imperative." Eager to attract attention, artists and writers struggled to be on the cutting edge. Keen to impress publishers, dealers, and colleagues, they dressed original ideas in striking new clothes. The insights, impressions, and ideas generated by contemporary technological developments demanded to be expressed in a brand new language. As poets and painters strove to create such a language, however, they discovered that this activity also provided them with new insights, impressions, and ideas. By expanding the ability of language to express the tremendous complexity of modern life, they hoped to overcome this complexity by inventing new ways of thinking about the world and of interacting with it. To be sure, the search for an alternate means of expression assumed many different guises over the years. Each of the individuals examined in these pages struggled long and hard to discover a suitable vehicle for his or her voice. Each searched for a radical new art form that, in addition to expressing his or her personal vision, would transform the way we view things. Besides poets and painters, to be sure, the avant-garde included numerous people associated with other disciplines. Dancers, choreographers, musicians, composers, film makers, theater directors, scenographers, art dealers, playwrights, actors, critics, and publishers all contributed to the heady mix. While freely acknowledging their important contributions, the present study concentrates on art and literature, which, as the volume demonstrates, evolved along parallel lines. Although writers and artists mostly worked in radically different media, which partially determined what they could accomplish, they shared the same goals. In their quest for new domains to explore, they developed anti-realistic strategies that would revolutionize modern aesthetics. The Avant-Garde Imperative is an important volume for anyone interested in modern aesthetics. It will appeal not only to scholars of twentieth-century literature but also to those working in the field of modern art.

In their research in the field of international education, the editors found that the university admission function of terminating school assessment has largely eclipsed the school-leaving-certification aspect in systems where the two go together. But it is not only students from education systems which have curriculum-based external examinations at the culmination of schooling who aspire to enter university. Once the privilege of the well-heeled classes, university education has become to today's middle-class youngster what a high school certificate was to preceding generations at the same stage of life. Be it the demands of the 'knowledge society' or merely credential inflation, a great many young people now regard tertiary education as the means by which to realise their ambitions. Schooling has become a stepping-stone to post-school education and training (e.g., university). This edited volume accordingly focuses on the transition from school to university. In broad terms, there are two kinds of university admission systems: first, those in which upper secondary school qualifications explicitly confer the right to enrol at university, and second, those in which they do not. Some systems exhibit an additional layer of testing between those leading to school certification and the attainment of university entrance status. Securing the general right to enter university may only be a first step. Individual universities may impose their own entrance requirements, particularly in the case of competitive-entry programmes. These may involve selection procedures not associated with examinations or tests. In some systems, a student may be able to enrol in selective faculties directly upon making the transition from school; in others, there may be a significant lapse of time separating general university admission and enrolment in a desired field via 'pre-' courses or even first degrees in other fields. This book will be of considerable interest to scholars and practitioners in the fields of strategic educational planning and high-stakes assessment and examinations, particularly those with a comparative focus.

Over the past forty years, from Americana to Point Omega, Don DeLillo has written some of America's most important novels. Although DeLillo scholarship has dealt extensively with critical theory, through themes such as systems, technology, consumerism, and terrorism, none has addressed the relation between his texts and the concept of the outside. This study argues for a new model of reading landscape in the twentieth- and twenty-first-century American novel. The author takes as exemplary the novels of Don DeLillo-and in particular the main focus of this study, The Body Artist-which have constructed landscapes that exceed the limits of geography, time, and perception. In relation to a series of literary and philosophical texts, the author reads the force driving this exceedance as the Outside, and he seeks to reconceptualize "landscape of estrangement" primarily as a relation to the Outside that animates and confuses the difference between inside and outside. Thus, the project takes as a general guide the following question: What does it mean to read the emergence of a landscape that is of the Outside? The answer to this question will help contextualize this study, bringing into relief a set of texts not through the categories of "modern," "postmodern," or "romantic," but rather their relation to the Outside. Thinking of the book as an "assemblage with the outside" also means--within the particular context of this study--that the author's concept "landscape of estrangement" is not necessarily restricted to the site of literature and can emerge via visual or auditory landscapes. To extend this thought even further, a notion this study suggests, but one that would require a whole other project, is that America itself can be read as a landscape of estrangement. If one were inclined to read novels as representations of America, then one could argue that the landscapes found in those novels would be representations of America's landscapes of estrangement. For example, the landscapes found in DeLillo's novel Cosmopolis may refer simultaneously to New York City and America at large. This, however, is not what the author of this book has in mind. This study argues that to think of America as a landscape of estrangement would mean taking the novels produced within America as elements-not representations-of that landscape, and as such they would be available among other aspects, such as film, music, politics, photography, and architecture. Sites through which DeLillo's novels have been consistently read-the city, garbage, technology, film, terrorism-all contribute to the emergence of a landscape of estrangement within America. Perhaps literature and film-or what the author will call "fabulation"-provide the most profitable sites for reading this emergence given their potential for narrative, which as we shall see is particularly suffused with such landscapes. Taking its general philosophical, strategic, and methodological inspiration from the works of Jacques Derrida, Gilles Deleuze, Michel Foucault, and Maurice Blanchot, this study is an intervention into the growing field of DeLillo studies which reads landscapes that problematize the limits of geography, time, and perception. After developing the concept of landscape of estrangement in contrast to more traditional understandings of literary landscapes, the volume examines its production via the outsider, hospitality, mourning, and the uncanny-sites whose force comes from the outside. This book will be a welcome addition to collections in American literature, critical theory, and philosophy.

Philip Roth s standing on the literary scene is undisputed. The recipient of innumerable literary awards, the Jewish American author has reached past the precincts of his Newark s Weequahic neighborhood to become one of the most significant American novelists of the late twentieth century, an unrivalled master of the art of fiction. His literary output spanning more than 50 years and more than thirty books has been astounding both in terms of quantity and quality. Roth s place among the classics has been established by a host of critical studies presenting Roth s work from a myriad of thematic perspectives. Critical literature on Roth has become a minor industry of sorts and the interested reader may find a number of excellent general book-length treatments of his oeuvre. Starting with the front matter in The Human Stain (2000), Roth has rearranged the list of his previously published works, grouping them according to the narrating voice. The list of the Zuckerman Books is the most conspicuous in this rearrangement, and the only one that has been signaled by Roth as complete since the publication of Exit Ghost (2007) that has marked the demise of Nathan Zuckerman explicitly. The time appears ripe to narrow the scope of inquiry and engage critically with Roth s own rethinking of his work, starting from the character who has been recognized unanimously as the author s most beloved protagonist and his most recognizable alter-ego figure. This book provides a sustained analysis of the nine Zuckerman Books plus My Life as a Man (1974) and The Facts (1988) featuring Roth s most famous protagonist in ways crucial to assess his literary function across multiple narratives. This book traces Zuckerman s fictional birth in My Life as a Man and The Ghost Writer, his growth through Zuckerman Unbound, The Anatomy Lesson, The Prague Orgy, The Counterlife, The Facts, his development in American Pastoral, I Married a Communist, The Human Stain and his death in Exit Ghost, to explore how Roth has been progressively creating and refining this mask and his voice as a means to come to terms with his own biography, his history, and his own self as a writer. All the defining features of Roth s poetics masking practices, ventriloquism, meta-fictional focus, cultural significance are visible in the creation of Zuckerman as narrator. This study keeps up the ongoing reflection in Roth s scholarly literature on the foundational relationship between facts and fictions demonstrating how Zuckerman amplifies and perfects the typically Rothian tendency to draw materials for his fictional writing from his own life and reveals Roth s ambition to create a monument out of a specific and well individualized identity: the writer steeped in American history. As Roth s most cherished mask, Nathan Zuckerman opens for the reader interested in the Jewish American author a perfect window on the crucial issue of authorship and on the range of Roth s thematic preoccupations. In proposing to view The Ghost Writer as a narrative beginning, The Counterlife as a middle and Exit Ghost as an end, the book addresses the stakes at play in reading across multiple narratives directly: how is Zuckerman s identity shaped? How does narrative technique interact with biographical data? How do readers make (progressive) sense of Zuckerman and how do they cope with inconsistencies? What kind of coherence can be ascribed to Zuckerman in spite of the gaps his long narrative presents? What if anything is specifically Jewish about the creation of Zuckerman as narrator of numerous books? What are the literary functions, the formal and narratological underpinnings and the psychological needs Zuckerman activates and reveals? The book's groundbreaking contribution consists in a unique focus on the inner, that is to say, narratological logic of the fictional world presided over by Nathan Zuckerman and in the contextual attention to how form in its panoply of aspects triggers reader responses and activities. Masiero illuminates Roth s art of fiction through the detailed analysis of Roth s ambitious dream of creating a complete narrative microcosm. This book is important for the general reader interested in contemporary American fiction, as well as for teachers of American literature and Jewish studies, for graduate students and advanced undergraduates, and, of course for Roth scholars and literary theorists.

Hal Hartley was one of the leading lights of the independent American cinema boom of the late 1980s and 1990s. Although his work never achieved the kind of crossover commercial success that other indie directors experienced, his work exhibits one of the most distinctive voices in recent American cinema. Combining wry, aphoristic dialogue with stylized performances and a muted, minimalist palette, Hartley's films challenge cinematic conventions, especially in performance, and resist easy empathetic identification. His later work has carved out an even more specific niche, and, since 1999, his work has often explored extreme digital stylization. Winner of the best screenplay award at the Cannes film festival in 1998 for Henry Fool, Hartley is best known for his films in the early-mid 1990s, including The Unbelievable Truth (1989), Trust (1990), Simple Men (1992), and Amateur (1994). His subsequent work has become more challenging, often examining the cultural role of the artist and the role of the work of art in the information age, as in Flirt (1995) and Henry Fool. Hartley has also experimented with digital video in his more recent work, including The Book of Life (1999), The Girl from Monday (2005), and Fay Grim (2006). Furthermore, he is well known as a prolific short filmmaker, including Surviving Desire (1991), Ambition (1991), Theory of Achievement (1991), The New Math(s) (1999) and two collections of short works released under his Possible Films label (2006 & 2010). The short films are experimental, formally challenging, and highly self-reflexive, capturing Hartley's approach in its purest form. With this first critical study of Hal Hartley's work, Steven Rawle examines the physical and cultural performance practices at play in Hartley's work. Focusing on the critical emphasis on performance and the performer in Hartley's work, the book charts the development of this central facet of his films, from The Unbelievable Truth to the digital features. Identifying the main critical approaches to performance that illuminate this trend in his work, Rawle delves into the reasons why Hartley's work has never gained popular recognition and explores why critical reactions to his films have never fully grasped the complete significance of performance. Part of this reason, Rawle argues, is the lack of critical tools by which to explore film performance. This book contributes to a growing body of work on film performance, taking this formerly critically neglected figure as its central case study. This book will be an important book for fans of Hartley's work as well as scholars of independent American cinema and of film performance.

"This is the most comprehensive and insightful study on this topic in any language and the first written in English. In addition to its scholarly value, Professor Pan's book opens a window to a picturesque poetic world for Western readers who are interested in Chinese poetry and painting." - Zu-yan Chen, Professor of Chinese Literature, Binghamton University "In this book, Professor Pan provides a rare treat for the English-language reader with valuable information regarding this hitherto under-represented subject. He lucidly traces the development of this border-crossing genre from its prototype works to its maturity in the Tang Dynasty (618-907) and the subsequent expansion in late imperial China. He illustrates the tihuashi poetics of the master bard Du Fu (712-770) and that of the virtuoso poet-artist-philosopher Su Shi (1037-1101). Most remarkable of his contribution is the generous number of faithfully translated poems, all with great clarity and elegance. This book will help the reader better understand the relationship between Chinese painting, calligraphy and poetry, the interartistic, intertextual, and interdisciplinary characteristics of tihuashi, the cultural milieu of its creation, and its intellectual significance to the Chinese literati community." - Madeline Chu, Professor of Chinese Language & Literature, Kalamazoo College "A special value I find in this book lies in its bilingual texts of Chinese tihuashi poems, which will not only benefit scholars and students of classical Chinese poetry but also exemplify Professor Pan's insights on classical Chinese poetic language and the art of translating this language into contemporary English." - John S. Rohsenow, Professor Emeritus, The University of Illinois at Chicago

The Business Research Consortium (BRC) of WesternNew York was founded in 2006. The BRC hosts anannual conference and publishes the proceedings fromthis conference. The BRC also publishes fi ve journalsto support pioneering research in business and education.In addition, the BRC hosts a working papers seriesto encourage collaboration in research across membercolleges and schools of business. The BRC Board ofDirectors consists of one representative from eachcollege or school that hosts the annual conference. Formore information on the BRC, please visit its Web siteat http: //www.businessresearchconsortium.org

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes five journals (including The BRC Journal of Advances in Education) to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its Web site at http: //www.businessresearchconsortium.org (Online) ISSN 2152-8780 (Print) ISSN 2152-875

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes five journals (including The BRC Journal of Advances in Education) to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its Web site at http: //www.businessresearchconsortium.org (Online) ISSN 2152-8667 (Print) ISSN 2152-861

The Business Research Consortium (BRC) of Western New York was founded in 2006. The BRC hosts an annual conference and publishes the proceedings from this conference. The BRC also publishes five journals (including The BRC Journal of Advances in Education) to support pioneering research in business and education. In addition, the BRC hosts a working papers series to encourage collaboration in research across member colleges and schools of business. The BRC Board of Directors consists of one representative from each college or school that hosts the annual conference. For more information on the BRC, please visit its Web site at http: //www.businessresearchconsortium.org (Online) ISSN 2152-8829 (Print) ISSN 2152-881

This book offers an account of the social production of (ill) health. The author theorizes how health and ill-health can be produced via the interaction of individual-level discourses of contingent work and broader socio-political contexts. One of the most important changes affecting work and workers in (non)industrialized countries over the last two decades is the spread of contingent forms of work. Contingent employment is a mode of work organization characterized by transitory employment relationships, such as short- or fixed-term contracts, part-time, casual/on-call, self-employment, seasonal, and temporary help agency work. It emerged as a significant form of employment in the context of the global capitalism-- globalization of trade, investment, production, intensified economic competition, and associated corporate responses such as organizational restructuring, downsizing, and outsourcing. In Canada, contingent work accounts for 13% of total employment, up from 9.7% in 1998. In the United States, upwards of 30% of workers are engaged in some form of contingent work. Similar labor market shifts are apparent in European countries. The increasing prevalence of contingent work has prompted concerns about its health implications for people who do these types of work. Nonetheless, the relationship between contingent work and health is poorly understood because existing research findings are inconsistent or inconclusive. The research reported in this book casts light on these discrepant health-related findings by examining contingent work from the perspective of workers, through an exploration of how they experience and understand this form of work and how these experiences and understandings might affect health. The study revealed a strong discursive aspect to workers' experience, and these discourses are the focus of this book. A theoretical premise of this study is that experience is inseparable from discourse. In other words, the language in which workers articulate their experience both constitutes and reflects that experience--how they experience their work is embodied in their discursive practices for talking about it. Thus, their experience can be understood, at least in part, through an analysis of the discourses of which they avail themselves. Informed by a constructionist theoretical perspective, the book describes and discusses the different kinds of discourses workers use to portray their experience of contingent work and how these discourses are related to evaluations of contingent work as inferior or stigmatized work and to broader socio-political and economic contexts. Another assumption of this study is that discourses are inseparable from the broader socio-political contexts in which they are constructed; indeed they exist in a recursive relationship with these social contexts. The findings reveal how individual-level discourses about contingent work shape, and are shaped by, neoliberal rationalities. That is, how individuals talk about and experience their work is formed in important ways by broader societal conceptions of work and citizenship. In turn, their individual discourses constitute and reinforce these existing societal notions. With arguments premised on the theoretical assumption that discourse is a form of social action, the book argues that the discourses of contingent work constitute a form of management of stigmatised work and that they cast workers as different kinds of citizens. It concludes with a discussion of the health implications of these neoliberal-inspired discourses. This book will be an important addition to collections in public health and public policy.

By the 1820s, falling book prices and rising literacy rates had created England s first literate working-class majority. These workers had read other people s lives. They had read the histories of heroes and histories of philosophers as one artisan author puts it, but they looked in vain for an autobiography of a fellow wealth producer. Those who were born in the 1790s shared a revolutionary generation with Byron, Shelley and Keats, and they had seen their country s industrialization first hand. Their lives were radically different than the lives their parents had lived, and they knew that they had their own stories to tell. Between 1820 and the defeat of Chartism in 1848, forty-eight men and women wrote or spoke their autobiographies, commemorating in their own words the cultural transition that accompanied England s shift to an industrial capitalist economy. The outpouring of working-class lives was so dramatic that John Lockhart, writing in the Quarterly Review despaired that England expect[ed] every driveller to do his Memorabilia. In Literature by the Working Class, Cassandra Falke provides a close literary analysis of five of these autobiographies, situating them in their historical and literary context but privileging each as a work of literature that deserves the same careful attention readers pay to other literary texts of the period. She has chosen works that represent the diversity of working-class life. One author, John Clare, so excelled at poetry that his work is now widely anthologized, but he was born an agricultural laborer, and he died in a madhouse. Another, Robert Blincoe, was orphaned at birth and sold into the nightmarish factory apprentice system. His contemporary, Timothy Claxton, was a gardener s boy in the service of a great house. The lady of the house provided two years of education for him, and on that slim foundation, he built a successful career as a whitesmith and founded London s first mechanic s institute. Christopher s Thomson trained as a shipwright, rambled the country as an actor and scene painter, and shuffled his wife and children from job to job and town to town until he finally settled down as a house painter. He rejects the social pressure to define his life according to his occupation and writes instead about pleasure, personal trials and community. The last autobiographer Falke considers, Thomas Carter, struggled to fulfill the period s ideal for a working-class autodidact. From his overcrowded London garret apartment, in the voice of the anonymous working man, he encouraged fellow workers to persist in their education, and to maintain hope in the freedom of an active mental life even as their families, like his, struggled with hunger, cold, and child mortality. Viewing all of these stories together, Falke captures the richness of working-class culture, the bravery of these authors persistence, and the fecundity of their literary imaginations. Literature by the Working Class proposes a way to read working-class autobiographies that attends to both the socio-historical influences on their composition and their value as individual literary works. Although social historians, reading historians, and historians of rhetoric have recognized the significance of working-class autobiography to the early nineteenth century, providing broad overviews of the genre, very little work has been done to read these works as literature. Part of this negligence arises for the style of these autobiographies. They reject notions of autonomous selfhood and linear self-creation that characterize other Romantic period autobiographical works. While the critical understanding of autobiography as a narrative of rational progress toward occupational success and autonomous selfhood has been challenged by scholars working in a variety of periods and disciplines (feminist scholars, African-American scholars, early modern scholars, for example), nineteenth-century accounts of autobiography have yet to fully rewrite this master narrative, and thus have yet to account for an abundance of writing by workers. Working-class autobiographies have also been neglected because these authors learned that emotional expression and literary embellishment were not luxuries permitted for their class. In response, they write with the objective distance they imagine their readers to expect, or they record the difficulty of not feeling free to write their emotions. Their books, therefore, do not confirm the usual expectations for autobiography in the Romantic period. Falke argues that the historical limits placed on working-class authors inspired them to try inventive literary techniques such as non-narrative autobiographies, non-chronological structure, and symbolic plots techniques that autobiographers are being lauded for experimenting with today. Instead of looking for textual properties that working-class autobiographies share with more canonical works, she reads the ways that these texts re-imagine what autobiography can do. Not only does this kind of reading yield valuable insights about the texts themselves, it also helps revise and expand the understanding of the development of this crucial nineteenth-century form.

Australian poetry is popularly conceived as a tradition founded by the wry, secular and stoic strains of its late-nineteenth-century bush balladeers Adam Lindsay Gordon, Henry Lawson and Banjo Paterson, consolidated into a land-based vigour in publications such as the Bulletin. Yet this popular conception relies on not actually consulting the poetry itself, which for well over one hundred and fifty years has been cerebral, introspective, feminine and highly even experimentally religious. Western Christian mystics and Western Christian mystical poets of the classical world, Middle Ages and modern era have been sources of inspiration, influence and correspondence for Australian poets since the writings of Charles Harpur (1813 1868), but there have also been ongoing debates as to how mysticism might be defined, whom its true exemplars might be, and whether poets should be considered mystical authorities. This book dedicates whole chapters to five Australian Christian mystical poets: Ada Cambridge (1864 1926), John Shaw Neilson (1872 1943), Francis Webb (1925 1973), Judith Wright (1915 2000) and Kevin Hart (1954 - ), with additional contextual chapters on their contemporaries and new approaches by Aboriginal poets since the early 1990s. Scholars and students are increasingly disregarding the popular bush facade and reading Australian poetry in terms of the sacred, the philosophical, the contemplative and the transcendent. At a national level this can be traced back to the post-war and 1970s generations of poets and readers who rejected the safe old bush myths for a more relentless interrogation of Australian origins, environments and metaphysics. Yet internationally, as among the general Australian public, the very idea of an Australian Christian mystical poetry seems incongruous with a metaphysically weak bush tradition which asks very little of them. This book casts Australian poetry in a new light by showing how Australian Christian mystical poetics can be found in every era of Australian letters, how literary hostilities towards women poets, eroticism and contemplation served to stifle a critical appreciation of mystical poetics until recent decades, and how in the twentieth century one Australian Christian mystical poet began to influence another and share their appreciations of Dante, Donne, Traherne, Blake, Wordsworth, Bront , Rossetti, Hopkins, Yeats, Eliot and Lowell. Despite parallel international works on British, American and European Christian mystical poets, there has never been a book-length exploration of Australian Christian mystical poets or poetics. This study draws upon eight years of research to not only consider debates around Christian mysticism during the lives of its selected poets, but to also frame its argument in terms of the twenty-first-century Christian mysticism scholarship of Kevin Hart, Amy Hollywood, Ursula King and Bernard McGinn s seminal multi-volume history of Western Christian mysticism, The Presence of God. Simultaneously, Australian literary criticism of the relevant eras as well as in the present are explicitly engaged throughout. This book is a rigorous work of original scholarship which will significantly impact future discussions on the possibilities of Australian literature.

In trying to detect and analyze this female gaze on the male empire, this volume delves into memsahibs' literature. After all, besides their service to the empire, women's literature in/about the Empire, though often neglected, is considerably large. In India's case, women writers like Flora Annie Steel, Maud Diver, and Bithia Mary Croker narrate fictional tales colored by their firsthand experience of Indian life and life in India. They use their creative imagination to present India as they see and also as they want to see India. The female gaze has thus for a long time contributed to and shaped imperial discourse and knowledge of the East. Through their letters, diaries, memoirs, stories, novels, poems, paintings, and travel writings, women have often provided invaluable information about the empire and added to the fascination of the West with the specters and picturesqueness of the East. Their writings recurrently serve as the tool of their propaganda, the vehicle of their message, the inscription of their gaze and the blueprint of their politics of representation. This book argues that although the memsahib's female gaze has been spoken of, it has not been adequately emphasized and examined. In comparison, white female sexuality, the figure of Raj Woman, and the idea of "recasting women" or portrayal of the memsahib have received far more attention. Particularly, memsahibs' writings have been widely anthologized but these have not critically evaluated to a sufficient extent. Aiming at filling that gap by uncovering the world of British India as seen and shown by white women in colonial as well as postcolonial literatures, this compilation brings together scholarly essays on memsahibs' literature and Raj writings, including men's writings about memsahibs, spanning from before India's independence (like works of Alice Perrin and Rudyard Kipling) to the post-independence period (like works of Ruth Prawer Jhabvala and Ruskin Bond). This volume looks at the significant multidimensional defiant "female gaze"--be it of the authors or of the characters in their works, regardless of whether their writings were critical or supportive of the empire. Subverting the structure of male looking/female to be looked at, this collection of essays explores the "female gaze" on the Empire (i.e., female looking/ male to be looked at). This book reiterates that the "female" element in the process cannot and should not be disregarded. Therefore, taking into consideration (real or fictional) memsahibs, this volume reminds us of the presence and role of white women in British India and the consequent intricate matrix of gender, class, race, and sexuality issues. In addition to offering critical analysis and in-depth study of memsahibs' writings, this book digresses from the well-trodden track of how memsahibs are portrayed to the near-virgin arena of how they are shown to see the Raj world. This volume asserts that the female gaze that looks upon the male empire is not merely a space constructed for the female but one fashioned by women themselves. This is an important book for South Asian literary studies, women's studies, as well as colonial and postcolonial studies on British India.

This book is the first comprehensive study of Senate majority leadership--it covers the office and its occupants from the first incumbent, John W Kern in 1913, through the term of William H. Frist in 2006. Data are both qualitative and quantitative. They include materials from archives of several majority leaders-Lyndon Johnson, Mike Mansfield, Howard Baker, and George Mitchell. Also available are statistics of roll call votes, which reveal continuing patterns of legislative behavior, e.g., leaders seem to be drawn from among senators who are "middle-men" in political ideology but who drift toward more extreme positions depending on the size of their partisan majority. This partisanship, however, is tempered by commitments to institutional loyalty. Research further highlights the continuity of majority leadership in the Senate by noting a path dependent relationship between majority leaders and presidents, who depend on leaders to shepherd their proposals. In their relationship to their states, leaders also are found to be attentive to demands for distributive benefits. All told, these multiple constituencies-state, party, Senate, and president-constrain majority leadership in the Senate. The task of the leader is to balance constraints. In this unprecedented work, Andrea Hatcher examines Senate majority leadership in terms of the constituencies, both electoral and functional, of the Senate majority leader. These constituencies-state, party, Senate, and president-are found to represent constraints on the Senate majority leader as their demands often compete, and the ways in which Senate majority leaders balance them form the contours of Senate majority leadership. It might seem obvious for there to be much variance as Senate majority leaders and their constituents change over time, and, to be sure, differences in leadership styles emerge. However, what is more striking is not the change but the continuity that guides the institutional development of Senate majority leadership. The path dependence is one of constrained Senate majority leadership, not for the conventional wisdom that the majority leader operates in a supermajoritarian institution, but for the broader reason that these plethora of intra-, inter-, and extra-institutional forces pull at the leader. The scope of inquiry is comprehensive, beginning with an identification of trends in the selection of senators to become majority leader. It, then, traces the voting behavior of Senate majority leaders, analyzing by way of statistical findings how the leader represents his party constituency by roll call voting. One key, but often overlooked, variable that this study examines is size of a leader's majority.

Different cultures and the specific culture manifested within them are intrinsically linked to addiction in a complex fashion which has a long history. For important thinkers, such as Nietzsche, addiction actually embodies human culture, rendering addiction and culture inseparable. This is clearly seen within the Western world's addiction to the consumption of material goods and the damage that results. Utopia has often become dystopia. Not only is an understanding of addiction key to understanding culture but to an understanding of the very act thinking itself and the way of being in the world. Addiction raises key philosophical questions, such as: do people really have a choice in their behavior, and what governs them; is it free will or predetermination? Is it biology or environment is it the external world or the internal that drives addiction, or a complex combination of both? In a contemporary context the media frenzy around celebrity addiction continually fuels public debate in this area, and this book deepens the understanding of addiction within this contentious context. This book addresses a key concern over how addiction became the norm, and it seeks to understand its dominance comprehensively. How did it come to pass that not being an addict was a transgressive act and way of being? While there has been a great deal of debate about addiction utilizing the discourse of individual and often competing disciplines such as biology and psychology, little attention has been paid to the cultural aspects of addiction. The innovative approach taken by this book is to offer insights into this complex area through a contemporary methodology that covers diverse interrelated areas. Drawing on different disciplines, offering deeper insights, from the analysis of music lyrics to empirical social science and anthropological work in AA groups in Mexico and the portrayal of the "addiction' to therapy in film and television, amongst other areas, this book addresses the need for a more comprehensive approach. Academic analysis is also given to the discourse on celebrity culture and addiction. A contemporary fusion of the humanities and the social sciences is the best way forward to tackle this subject and move the debate on. The focus of this study is an innovative interdisciplinary and intercultural approach to addiction, from the social sciences to the humanities, including cultural studies, film and media studies, and literary studies. Areas that have been overlooked, such as lost women's writings, are examined, in addition to comics, popular film and television, and the work of AA groups. This edited collection is the first study to provide such a comprehensive analysis of the cultures of addiction. Traversing cultures across the globe, including Asia, Central America, as well as Europe and America, this book opens up the debate in addiction studies and cultural studies. The important insights the book delivers helps to answer questions such as: In what way can Deleuze further the understanding of addiction through the analysis of rock lyrics? How does anthropology improve the understanding of AA groups? How can cultural studies deepen knowledge on the "addiction" to therapy? These are just some of the vast array of areas this book covers. Other areas include the condemnation of "addiction" to comic reading through an historical examination, violence in popular culture, and lost women's writing on addiction. No other book has such depth and contemporary breadth. Cultures of Addiction is an important book for those taking cultural studies courses across a range of interrelated disciplines, including English and literary studies, history, American studies, and film and media studies. This will be invaluable to library collections in these fields and beyond in the social sciences, and specifically in addiction studies and psychology.

This study seeks to reunite American drama with more of the mainstream of American literature using contemporary literary theories of feminism, Derrida, Lacan, as well as the nature of language. It also focuses on the theatrical ways that plays work through performance and staging. This reveals how contemporary playwrights see themselves not as authors, but as parts of a team of designers, actors, and directors. Stage directions are largely omitted, but knowledge of original productions--both as seen live and recorded on tapes archived at Lincoln Center--reveal aspects of fragmentation of scenery, minimalist acting, emphasis on the "unsayable", which makes these plays far more postmodern than they might seem merely as read. More importantly, the final chapter reveals how these techniques culminate in 1990s play' ability to extend beyond the real in a myriad of ways, all united by a new, postmodern view of the divine as interpenetrating reality. In one sense, this seems to be juggling quite a few different items-poststructural theory, modernist realists, as well postmodern deconstructive realists and theatrical practice. All fit together neatly, however, in each chapter through a focus on performance, staging is seen as central to the dramatic experience, with reviews, photographs, and archival videotapes of productions used to verify and explore the plays' meanings. The plays, taken as a whole, reflect the key issues of American society from reactions to the Vietnam War, through issues of sexual preference, race, and feminism and its backlash, through issues of wealth and poverty to arrive at a new vision of a forgiving divine which accepts without judgment all the issues of diversity. American Drama and the Postmodern is an important book for collections in American literature, drama and theatre, as well as for literary theory.