Bücher veröffentlicht von Fairleigh Dickinson University Press

This book is a collection of critical essays that examine a radical shift in focus and orientation. In the challenge to the hermeneutics of suspicion, the adoption of alternative reading strategies, and the investigation of well-being, this collection is an analogue of a new discourse that has immensely enriched literary studies in the last decade.

This collection of essays investigates the various connections between Willa Cather's fiction and her aesthetic beliefs and practices.

Kevin De Ornellas argues that in Renaissance England the relationship between horse and rider works as an unambiguous symbol of domination by the strong over the weak. There was little sentimental concern for animal welfare, leading to the routine abuse of the material animal. This unproblematic, practical exploitation of the horse led to the currency of the horse/rider relationship as a trope or symbol of exploitation in the literature of the period. Engaging with fiction, plays, poems, and non-fictional prose works of late Tudor and early Stuart England, De Ornellas demonstrates that the horsea bridled, unwilling slavebecomes a yardstick against which the oppression of England's poor, women, increasingly uninfluential clergyman, and deluded gamblers is measured. The status of the bitted, harnessed horse was a low one in early modern Englandto be compared to such a beast is a demonstration of inferiority and subjugation. To think anything else is to be nave about the realities of horse management in the period and is to be nave about the realities of the exploitation of horses and other mammals in the present-day world.

This book is one of the few studies of small-town, Orthodox Jewish communities in central Europe. The author analyzes more than two centuries (1738-1950) of Jewish history.

Embodying Difference: Scripting Social Images of the Female Body in Latina Theatre explores contemporary theatrical productions by Latina dramatists in the United States and focuses on the effects that neoliberal politics, global market strategies, gender formation, and racial and ethnic marginalization have had on Latinas. Through the analysis of select plays by dramatists Nao Bustamante, Coco Fusco, Anne Garca-Romero, Josefina Lopez, Cherre Moraga, Linda Nieves-Powell, Dolores Prida, and Milcha Snchez-Scott, Embodying Difference shows how the bodies of Latinas are represented on stage in order to create an image of Latina consolidation. The performances of a dynamic female body challenge assumptions about ethno-racial expressions, exoticized ';otherness,' and political correctness as this book explores often uneasy sites of representations of the body including phenotype, sexuality, obesity, and the body as a political marker. Drawing on the theoretical framework of difference, including differing gender voices, performances, and performative acts, Embodying Difference examines social images of the Latina body as a means of understanding and rearticulating Latina subjectivity through an expression of difference. By means of a gradual realization and self-acclamation of their own images, Latinas can learn to embody notions of self that endorse their curvaceous, sexualized, and oversized bodies that have historically been marked and marketed by their ';brownness.'

Honoring the work of W. Barnett Pearce, this volume of 16 essays explores various applications of the theory of the Coordinated Management of Meaning. It anticipates futures in many areas of the communication field.

This book provides, for the first time, a scholarly edition of five adaptations of Shakespeare from the early eighteenth century. Providing a critical introduction and extensive explanatory notes, Shakespeare Adaptations from the Early Eighteenth Century firmly situates the texts of Coriolanus, Richard II, 2 Henry VI, 3 Henry VI, and Henry V in the literary, cultural, and political contexts of the period.

Since the publication of John PolidoriΓÇÖs The Vampyre (1819), the vampire has been a mainstay of Western culture, appearing consistently in literature, art, music (notably opera), film, television, graphic novels and popular culture in general. Even before its entrance into the realm of arts and letters in the early nineteenth century, the vampire was a feared creature of Eastern European folklore and legend, rising from the grave at night to consume its living loved ones and neighbors, often converting them at the same time into fellow vampires. A major question exists within vampire scholarship: to what extent is this creature a product of European cultural forms, or is the vampire indeed a universal, perhaps even archetypal figure? In this collection of sixteen original essays, the contributors shed light on this question. One essay traces the origins of the legend to the early medieval Norse draugr, an ΓÇ£undeadΓÇ¥ creature who reflects the underpinnings of Dracula, the latter first appearing as a vampire in Anglo-Irish Bram StokerΓÇÖs 1897 novel, Dracula.In addition to these investigations of the Western mythic, literary and historic traditions, other essays in this volume move outside Europe to explore vampire figures in Native American and Mesoamerican myth and ritual, as well as the existence of similar vampiric traditions in Japanese, Russian and Latin American art, theatre, literature, film, and other cultural productions. The female vampire looms large, beginning with the Sumerian goddess Lilith, including the nineteenth-century Carmilla, and moving to vampiresses in twentieth-century film, literature, and television series. Scientific explanations for vampires and werewolves constitute another section of the book, including eighteenth-century accounts of unearthing, decapitation and cremation of suspected vampires in Eastern Europe. The vampireΓÇÖs beauty, attainment of immortality and eternal youth are all suggested as reasons for its continued success in contemporary popular culture.

This collection of essays extends the conversation on communication ethics and crisis communication to offer practical wisdom for meeting the challenges of a complex and ever-changing world. In multiple contexts ranging from the intrapersonal, interpersonal, and family to the political and public, moments of crisis call us to respond from within particular standpoints that shape our understanding and our response to crisis as we grapple with contested notions of the good in our shared life together. With no agreed-upon set of absolutes to guide us, this moment calls us to learn from difference as we seek resources to continue the human conversation as we engage the unexpected. This collection of essays invites multiple epistemological and methodological standpoints to consider alternative ways of thinking about communication ethics and crisis.

How do poems remember? What kinds of memory do poems register that factual, chronological accounts of the past are oblivious to? What is the self created by such practices of memory? To answer these questions, Uta Gosmann introduces a general theory of 'poetic memory,' a manner of thinking that eschews simple-minded notions of linearity and accuracy in order to uncover the human subject's intricate relationship to a past that it cannot fully know. Gosmann explores poetic memory in the work of Sylvia Plath, Susan Howe, Ellen Hinsey, and Louise GlYck, four contemporary American poets writing in a wide range of styles and discussed here for the first time together. Drawing on psychoanalysis, memory studies, and thinkers from Nietzsche and Benjamin to Halbwachs and Kristeva, Gosmann uses these demanding poets to articulate an alternative, non-empirical model of the self in poetry. Plath, the quintessential 'confessional' poet, faces the precariousness of personal memory and first suffers, but then sardonically embraces the most horrific and vulgar fragments from the storehouse of collective memory. Howe, the experimentalist language poet, becomes the rememberer of marginal or 'nonconformist' figures, whose eccentricities, incoherences, and silences are the very grounds that enable her to inhabit the past. Hinsey, the lesser known of these poets who writes in the European tradition of poetry of witness, creates 'cities of memory' for us to dwell in, allowing us to imagine the past's spatial and temporal texture and its personal significance in fresh ways. GlYck, the 'post-confessional,' expands the memory of the self by enmeshing personal and archetypal memory via the persona of Persphone, a generative confluence which leaves both kinds of memory transformed. When these poets look at the past, they perceive its flawed representations, its lack of certainty, its margins and gaps, its traces in space, its deep marks in the psyche. They share an intuitive certainty of self as being other, and they look in different places to find what was split off, forgotten, and psychically lost. They use words, which are complex bits of memory, to push against encrusted structures or apparent boundaries of the mind and seek to represent more fluid states of consciousness. Poetic language--riven with metaphor, unrestricted by familiar forms of logic--is especially conducive to the work of poetic memory. Poetic memory embraces a vision of the self as malleable and mysterious, characterized by a radical otherness, and shaped by unconscious forces, while it remains open for continual imaginative reinvention. Through the practice of poetic memory, to speak with Plotinus, the soul 'is and becomes what it remembers.'

Engaging Strangers: Civil Rites, Civic Capitalism, and Public Order in Boston by Daniel J. Monti, Jr. explores how the people of Boston have learned to practice a more congenial and respectful set of civic virtues. Monti provides a model for civic conduct for the rest of America to study and follow, showing how the cultural ideals we share and the civic-minded practices we follow in and out of the business world reflect a mix of liberal and conservative values that work for all of us.

New Perspectives in Italian Cultural Studies, Volume 2: The Arts and History deals with practicing cultural studies by offering articles that are valuable for both scholars of Italian studies and students interested in a cultural studies approach. Divided in four sections, the articles included offer complex approaches to literature, film, the visual arts, and a particular moment in Italian history with which Italians are still coming to terms, fascism.

The Christian Goddess: Archetype and Theology in the Fantasies of George MacDonald, examines this British Victorian writer's employment of female figures to represent Deity. Such symbolism is extremely unusual for a Christian author of this period and anticipates the efforts of many modern theologians to develop an image of God as Mother. Bonnie Gaarden reads the goddess-figures in MacDonald's fantasies as both archetypes of the collective unconscious and as emblems articulating MacDonald's unique Christian theology, which is Trinitarian, Neo-Platonic, mystical and universalist. The goddesses become the central figures around which the author develops her interpretations of MacDonald's adult fantasy-novels, his children's books and some of his fairy tales. These readings discover MacDonald's ideas about God and the nature of good and evil, models of spiritual and psychological development that foreshadow the theories of Carl Jung and Eric Neumann, and acerbic commentary on the values and customs of Victorian society and religion. According to The Christian Goddess, MacDonald's Romantic belief in God's self-revelation in Nature led him to create Nature-mothers (such as the Green Lady in 'The Golden Key' and Lilith's Eve) which evoke both the Great Mother archetype described by Eric Neumann, and the modern neopagan Great Mother as developed in the works of James Frazer, Robert Graves, and Marija Gimutas. MacDonald dramatized his view of evil and its cure in the title character of Lilith, a Terrible Mother archetype historically embodied in the Hindu goddess Kali. MacDonald's notion of the world as Keat's 'vale of Soulmaking,' also elaborated by religious philosopher John Hick, is conveyed by Magic Cauldron archetypes in The Wise Woman, 'The Gray Wolf,' and Lilith. Muse-figures in Phantastes and At the Back of the North Wind express MacDonald's conviction that a 'right imagination' is the voice of God, while Divine Children in The Wise Woman and 'The Golden Key' communicate his belief that 'true childhood' is the Divine nature. The great-grandmother in the Princess books, a personification of the multi-dimensional activity of Divine Wisdom, springs from the Judeo-Christian Sophia and the classical Athena, while Kore figures in The Princess and the Goblin, Lilith, and Phantastes re-present the transforming descents of Persephone and Christ. This book shows MacDonald's fantasies as a chronological bridge, anchored in the traditions of the Hebrew Bible and the New Testament, incorporating the teachings of Christian mysticism and theistic Romanticism, and linking to the contemporary concerns in Western society that have given birth to the New Age. The Christian goddess portrayed in these fantasies may strike the reader as a Deity whose time has come.

Barcelonan Okupas: Squatter Power! is the first book to combine close-readings of the representations of Spanish squatters known as okupas with the study of everyday life, built environment, and city planning in Barcelona. Vilaseca broadens the scope of Spanish cultural studies by integrating into it notions of embodied cognition and affect that respond to the city before and against the fixed relations of capitalism. Social transformation, as demonstrated by the okupas, is possible when city and art interrelate, not through capital or the urbanization of consciousness but through bodily thought. The okupas reconfigure the way thoughts, words, images and bodily responses are linked by evoking and communicating the idea of free exchange and openness through art (poetry, music, performance art, the plastic arts, graffiti, urban art and cinema); and by acting out and rehearsing these ideas in the practice of squatting. The okupas challenge society to differentiate the images and representations instituted by state domination or capitalist exploitation from the subversive potential of imagination. The okupas unify theory and practice, word and body, in pursuit of a positive, social vision that might serve humanity and lead the way out of the current problems caused by capitalism.

This book examines vampires as an international phenomenon, not restricted to the original folk character, the literary vampire, or twentieth-century film versions. Instead, the authors reshape the legend into a post-modern image that is psychologically and socially relevant while retaining elements of folklore mixed with a hint of science fiction.

Public expression in the United States has become increasingly coarse. Whether it's stupid, rude, base, or anti-intellectual talk, it surrounds us. Popular television, film, music, art, and even some elements of religion have become as coarse, we argue, as our often-disparaged political dialogue. This book's contention is that the U.S. semantic environment is governed by tactics, not tact. We craft messages that workthat perform their desired function. We are instrumental, strategic communicators. As such, entertainment and journalism that draw an audience, for instance, are ';good.' This follows the logic that the marketplace, an aggregate of hedonically motivated individuals, decides what's good. Market logic, when unencumbered by what some characterize as quaint human sentimentalities, liberates us to cynically communicate whatever and however we want. Whatever improves ratings, web traffic, ticket sales, concession sales, repeat purchases, and earnings is good. Embracing this communicative paradigm more fully necessitates the culture's abandonment of collective notions of both taste and veracity, thus weakening the forces that keep individual desires in check. Our present communication environment is one that invites the hypertrophic expression of the ego, enabling elites to erode public communication standards and repeal laws and regulations resulting in immeasurable individual fortunes. Meanwhile, perpetual plutocratic rule is made even more certain by the cacophonous public noise the rest of us are busy making, leaving us incapable, disinterested, and unwilling to listen to one another.

Samuel Seabury (1729-96) and Charles Inglis (1734-1816) were the first bishops of the Anglican churches in the United States and Canada respectively. This study compares and contrasts the seminal episcopal ministries of both men. Areas investigated include the introduction of episcopal ministry into virgin territory respecting such matters as confirmation, ordination, and clerical discipline. Unlike Inglis, Seabury was forced to deal with wholesale liturgical revision. Seabury rejected the "Proposed Prayer Book of 1785" and the revision of 1789. While both editions were generally accepted for the sake of denominational unity, they were far from Seabury's ideal. As liturgical revision was intertwined with polity, ecclesiology is considered in detail in the concluding chapter. Through a consideration of the early Lambeth Conferences, the conclusion draws out the implications for the Anglican Communion of these two seminal episcopacies. It is argued that the polity and liturgy of each national church established in Seabury's and Inglis' era has had implications reaching far beyond their own times.

This book focuses on the autobiographical poetry of early twentieth century author Antonia Pozzi and her lifelong friend and fellow poet, Vittorio Sereni. Antonia Pozzi, an author whose popularity in Italy has increased dramatically in the past few years, was a young girl during the First World War. She was born into a wealthy and influential family, and, after the rise of Fascism, her father was a prominent state official. In 1938 Pozzi committed suicide at the age of twenty-six. Her major collection of poems, Parole, was published posthumously. Pozzi's best friend, brother and most devoted confidant, Vittorio Sereni, is a more recognizable figure in Italian literary history. Born in 1913, a year after Pozzi, he served in the Italian Army during World War II, and was held in an allied prison camp in Algeria during the last years of the war. While Sereni is by far the better-known author, his response to the war experience and, particularly, to imprisonment recalls Pozzi's work on a number of levels. In the ';diaries' of both authors, autobiography functions as a means of constantly reasserting the self as a unique and separate individual against the totalizing forces of Fascist propaganda.

Sharatchandra Chattopadhyay has been the most popular writer of novels and short stories in his native Bengaland in India at large. Despite this, he remains unrecognized in the English speaking world. Narasingha P. Sil fills this void by presenting a historical critical assessment of his upbringing and the experiences that influenced his masterful and magnificent work. The Life of Sharatchandra Chattopadhyay rescues the authentic man, a caste-conscious and patriarchal Brahmin of colonial Bengal, from the cuckoo land of gratuitous praise and panegyric showered on the Aparajeya Kathasilpi, the ';invincible' wordsmith. The author exposes Sharatchandra's innate conservative worldview and his romantic platonic concept of human sexuality that inform all his love stories. In many respects Sharatchandra resembles his formidable European forbear, Jean Jacques Rousseau of Enlightenment France. The concluding chapter of Sil's biographical study introduces this pioneering comparison between the two mena veritable tour de force.

Noteworthy Francophone Women Directors: A Sequel is a comprehensive guide that acts as both a teaching tool and a directory for research. The book begins following films released after the publication of Pallister and Hottell's last volume, Francophone Women Film Directors in 2005 and stops after the Cannes film festival in 2010. Unique among guides dealing with film, both for its breadth and for its exclusive attention to Francophone women throughout the world, this work foregrounds the production by nearly three hundred Francophone women filmmakers from France, Belgium, Switzerland, Latin American, Quebec, even Thailand. The authors have researched film journals, followed web sites, attended film festivals and conferences, and traveled around the globe to conduct research in film libraries, and attend screenings and interviews with filmmakers. A list of film sources, an extensive bibliography, and an index of film directors and the titles of their films maximize this directory's usefulness.

Long Knives and the Longhouse will appeal most to readers interested in the political history of Virginia's colonial era expansion. Politicians and land speculators figure prominently in the story, but so too do Iroquois diplomats and British officials who abetted the Old Dominion's imperialism. Matthew L. Rhoades focuses more on the intercultural diplomacy that drove Virginia's expansion rather than internal processes that have been detailed in many other excellent studies of the Old Dominion in the colonial period.

It is hard to believe that there was a time, not long ago, when there was no right to obtain government information, no protection against hazards in children's toys and other consumer products, no federal safety standards for motor vehicles, and no insurance to protect an investors' money and securities in brokerage accounts. These and other consumer rights were created only after fierce political battles in the decade between 1966 and 1976. People's Warrior is the untold story of that era and one of its towering leaders, Congressman John Moss. Based on previously undisclosed materials and interviews with key players of the time People's Warrior tells the story of a stormy decade in America, one in which key laws, such as the Freedom of Information Act and the Consumer Product Safety Act were enacted by Congress, despite overwhelming political opposition. It is also the improbable story of one man's life and determination. Moss fought for twelve years, against three presidents and at times his own party, for a freedom of information law that has stood the test of time and been copied around the world. Although at first stymied by special interests, he won sweeping consumer protection reforms. He went on to challenge Wall Street in an intense battle to enact major new investor protection laws. What happened to Moss and his progressive agenda in later decades, and what the future may bring for that agenda, make up the final part of this compelling story of a man and an era.

The Rise and Fall of the Femme Fatale: From Gothic Ghosts to Victorian Vamps explores the femme fatale's career in nineteenth-century British literature. It traces her evolutionand devolutionformally, historically, and ideologically through a selection of plays, poems, novels, and personal correspondence. Considering well-known fatal women alongside more obscure ones, The Rise and Fall of the Femme Fatale sheds new light on emerging notions of gender, sexuality, and power throughout the long nineteenth century. By placing the fatal woman in a still developing literary and cultural narrative, this study examines how the femme fatale adapts over time, reflecting popular tastes and socio-economic landscapes.

On August 26, 1861, one hundred volunteers met at Camp Wood and formed Company A. These men, for the most part, were well educated and left to us a series of letters to families and friends, diaries, letters to their local newspapers, official reports, and talks they gave after the war at reunions. Their correspondence differs from most others in that they do not simply record the temperature and what they had to eat. The story the correspondence of Company A tells allows the reader to know what it was really like to be a volunteer soldier. The men describe what they saw from their vantage points on the parts of the battlefield they could see. Their letters cover their discussions and arguments concerning slavery, the national draft, the right of ';citizen soldiers' to confiscate property, and the use of blacks in combat. On a very personal level they describe what it was like to be captured and spend time in Confederate prisons awaiting exchange, what they felt when they had to leave wounded or dead comrades on the field when they had to retreat, whether to reenlist, the punishments they had to endure, the witnessing of military executions, and whether to mutiny. There are marvellous descriptions of the unauthorized truces the men arranged with the Confederates to trade tobacco for coffee or to bathe in a stream separating them.

Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the ';true church' (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries .Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions.The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.

This book on cultural studies aims to identify the status of the field in Italian cultural studies. It contains articles that will interest a variety of undergraduate and graduate classes and it is an invaluable resource for scholars of Italian studies.

This book examines the post-1990s African American novels, namely the ';neo-urban novel,' and develops a new urban discourse for the twenty-first century on how the city, as a social formation, impacts black characters through everyday discursive practices of whiteness. The critique of everyday life in a racial context is important in considering diverse forms of the lived reality of black everyday life in the novelistic representations of the white dominant urban order. African American fictional representations of the city have political significance in that the ';neo-urban novel' explores the nature of the American society at large. This book explores the need to understand how whiteness works, what it forecloses, and what it occasionally opens up in everyday life in American society.

Durrell and the City commemorates the fiftieth anniversary of the publication of The Alexandria Quartet with a collection of fourteen new essays by a group of international scholars and critics. The collection provides a critical consideration of Durrells urban landscapes, from the London of his early novels to Avignon during World War II in his last great series, while focusing on the place that made him famousthe city of Alexandriain order to provide a reassessment of his career and achievement.

Transforming Diaspora brings together an eclectic collection of essays that challenges traditional understandings of the diasporic condition. Most studies of diaspora privilege place, thus creating a binary between homeland and hostland. This book argues that the emerging forces of transnationalism and globalization have rendered such a division obsolete. Rather, the editors posit transnationalism and globalization to be fundamental characteristics of contemporary diasporic communities. Exploring the effects of the present historical moment on diaspora, the essays examine the changes in the relationships between diasporas, homelands, and hostlands. The collection is divided into two broad categories. The first section offers reinterpretations of the fundamental understandings of diaspora. The second section explores the complex relationship between the theoretical concept of diaspora and the realities of daily life for diasporic citizens.

Discourse Perspectives in Organizational Communication brings together researchers from the social sciences and humanities to look at discourse and how it shapes organizations and their social actors. Unlike others in the field, this book assumes that language creates and constitutes reality, rather than simply mirroring or describing it. This collection illustrates the variety of organizational phenomena that might be studied and the range of epistemological and methodological approaches that might be used in discourse analysis techniques.