Bücher veröffentlicht von Fairleigh Dickinson University Press

One of the most pertinent questions facing students of Mormon Studies is gaining further understanding of the function the Bible played in the composition of Joseph Smith's primary compositions, the Book of Mormon and the Doctrine and Covenants. With a few notable exceptions, such as Philip Barlow's Mormons and the Bible and Grant Hardy's Understanding the Book of Mormon, full-length monographs devoted to this topic have been lacking. This manuscript attempts to remedy this through a close analysis of how Mormon scripture, specifically the Book of Mormon and the Doctrine and Covenants, integrates the writings of New Testament into its own text. This manuscript takes up the argument that through the rhetoric of allusivity (the allusion to one text by another) Joseph Smith was able to bestow upon his works an authority they would have lacked without the incorporation of biblical language. In order to provide a thorough analysis focused on how Smith incorporated the biblical text into his own texts, this work will limit itself only to those passages in Mormon scripture that allude to the Prologue of John's gospel (John 1:1-18). The choice of the Prologue of John is due to its frequent appearance throughout Smith's corpus as well as its recognizable language. This study further argues that the manner in which Smith incorporates the Johannine Prologue is by no means uniform but actually quite creative, taking (at least) four different forms: Echo, Allusion, Expansion, and Inversion. The methodology used in this work is based primarily upon recent developments in intertextual studies of the Bible, an analytical method that has proved to be quite effective in studying later author's use of earlier texts.

This book is both a celebration of the life and career of the eminent literary scholar, critic, and journalist John Sutherland and an extension of Sutherland's work in various fields, including nineteenth- and twentieth-century Anglo-American literature, the publishing industry, and its impact upon creativity and literary puzzles.

Hamlet stands as a high water mark of canonical art, yet it has equally attracted rebels and experimenters, those avant-garde writers, dramatists, performers, and filmmakers who, in their adaptations and appropriations, seek new ways of expressing innovative and challenging thoughts in the hope that they can change perceptions of their own world. One reason for this, as the book argues, is that the source text that is their inspiration was written in the same spirit. Hamlet as a work of art exhibits many aspects of the ';vanguard' movements in every society and artistic milieux, an avant-garde vision of struggle against conformity, which retains an edge of provocative novelty. Accordingly, it has always inspired unorthodox adaptations and can be known by a neglected portion of the company it keeps, the avant-garde in every age. After placing Hamlet alongside ';cutting edge' works in Shakespeare's time, such as Marlowe's Doctor Faustus and Kyd's The Spanish Tragedy, chapters deal with the ways in which experimental writers, theatre practitioners, and film-makers have used the play down to the present day to develop their own avant-garde visions. This is a part of the uncanny ability of Shakespeare's Hamlet to be ';ever-now, ever-new.'

Volume 1 of The Annotated Works of Henry George includes an introduction to the six-volume series that focuses on the social context for George's political economy, as well as the public and private struggles that George faced. Tension between the dream of economic justice and different techniques to realize it proved a continuing challenge for the Georgist movement after its heady early years.Volume 1 presents three major works by George and new essays to provide context. George wrote Our Land and Land Policy (1871) while still a journalist in California. Fred Foldvary shows that George, even as a neophyte economist, wrote with uncanny insight and analytical skill. In The Irish Land Question (1881), George dove into the maelstrom of Irish land policy. Jerome Heavey provides the essential clarification of the history and politics of Irish land law and explains why George's remedy was not adopted. Property in Land (1885) incorporates the debate between George and the eighth Duke of Argyll. Brian Hodgkinson provides the historical and philosophical setting for this exchange between the Scottish aristocratic landowner and the American "Prophet of San Francisco."

This collection is an in-depth exploration of a central contemporary American poet with links to many key literary movements. The book provides a sweeping intellectual survey of modernism, postmodernism, and twentieth- and twenty-first-century American poetry.

This documentary history is intended for specialist and non-specialist alike. The introductions to the book's sections, together with introductions to each document, provide a general history of the war. The contents cover the pre-war, war, and post-war periods in Cuba, Guam, Hawaii, Puerto Rico, Spain, the Philippines, and the United States. Included are documents on the main battles and diplomatic history of the war, along with internal situations in Cuba, Puerto Rico, Spain, the Philippines, and the United States. Of particular interest is the section on Black Americans' views and participation in the war, and the section on the views of many participants, military and non-military.

This book presents the supernatural as a truly international phenomenon, not restricted to the original folk characters, their literary representations, or popular media. Instead, we move around the world and into the twenty-first century, reshaping legends into a post-modern image that is psychologically and socially relevant.

T. S. Eliot was raised in the Unitarian faith of his family in St. Louis but drifted away from their beliefs while studying philosophy, mysticism, and anthropology at Harvard. During a year in Paris (1910-1911), he became involved with a group of Catholic writers there and subsequently went through a gradual conversion to Catholic Christianity. He surprised his brother during a visit to Rome in 1926, when he fell to his knees at St. Peter''s, and he surprised his Bloomsbury friends a year later when he was received into the Church of England, becoming an adherent of the traditionalist Anglo-Catholic wing of that church.Many studies of Eliot''s writings have mentioned his religious beliefs, but most have failed to give the topic due weight and many have misunderstood or misrepresented his faith. More recently, however, some scholars have begun exploring this dimension of Eliot''s though more carefully and fully. The critics whose essays are collected here are among that group.Here the reader will find Eliot''s Anglo-Catholicism accurately defined and thoughtfully considered. Several essays illuminate the all-important influence of the French Catholic writers he came to know in Paris. Prominent among them were those who wrote for or were otherwise associated with the Nouvelle Revue Française, including André Gide, Paul Claudel, and Charles-Louis Philippe. Also active in Paris at that time was the notorious Charles Maurras, whose influence on Eliot has been exaggerated by those who wished to discredit Eliot''s traditionalist views. A more measured assessment of Maurras''s influence has been needed and is found in several essays here. A wiser French Catholic writer, Jacques Maritain, has been largely ignored by Eliot scholars, but his influence is now given due consideration.Contributors to the volume take account of Eliot''s intellectual relationship with such figures as John Henry Newman, Charles Williams, and the expert on church architecture, W. R. Lethaby. Eliot''s engagement with other contemporaries who held a variety of Christian beliefs--including George Santayana, Paul Elmer More, C. S. Lewis, and David Jones--is also clarified.The keynote of Eliot''s cultural and political writings is his belief that religion and culture are integrally related. Several writers in this volume examine his ideas on this subject, placing them in the context of Maritain''s ideas, as well as those of the Catholic historian Christopher Dawson.The book as a whole presents the subject of Eliot''s religious beliefs in rich detail, from a number of different perspectives, giving readers the opportunity to see the topic in its complexity and fullness.

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.

This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one.

During the late nineteenth and early twentieth centuries, a host of journalists, ministers, medical doctors, businessmen, lawyers, labor leaders, politicians, and others called for an assault on poverty, slums, disreputable boarding houses, alcoholism, prostitution, sweatshop conditions, inadequate educational facilities, and other social evils. Although they represented an array of political positions and advocated a range of strategies to deal with what they deemed problems, historians have come to term this impulse urban reform or the urban reform movement. This book considers the history of reform ideology in Canada. It does so by considering four leading reformers living in what might be described as the most Canadian of Canadian cities, Winnipeg, Manitoba. While the book engages in discussions/debates surrounding the particular individuals it considers, its more general argument is that to understand the history of reform in Canada requires viewing reformers as simultaneously experiencing and responding to two basic phenomena simultaneously. It requires understanding them as confronting the polarizing tendencies, exploitation, and sometimes grinding poverty that was central to the economic order they (often unwittingly) helped to impose in northern North America. It also, however, requires seeing them as fundamentally shaped by the process and legacy of the dispossession of Aboriginal peoples, and the changing nature of Aboriginal-settler relations that were also central to the development of Canada.

This is a memoir of the early years of a well-known Chicano scholar whose work and activism were motivated by his Mormon faith. The narrative follows him as an immigrant boy in San Antonio, Texas, who finds religion, goes to segregated schools, participates in the first major school boycott of the modern era in Texas, goes to Viet Nam where he heads an emergency room in the Mekong Delta, and then to college where he becomes involved in the Chicano Movement. Throughout this time he juggles, struggles, and comes to terms with the religious principles that provide him the foundation for his civil rights activism and form the core of his moral compass and spiritual beliefs. In the process he pushes back against those religious traditions and customs that he sees as contrary to the most profound aspects of being a Mormon Christian. This memoir is about activism and religion on the ground and reflects the militancy of people of color whose faith drives them to engage in social action that defies simple political terminology.

These essays investigate the political, cultural, and religious mores of the time and how these societal factors may have pressured or influenced Shakespeare and his work. Hamlet speaks of "the very age and body of the time his form and pressure," a discussion that challenges the reader to decipher the links between cultural history and their manifestations in various forms and how they give us glimpses of Shakespeare, the man behind his works.

Despite hundreds of millions of visitors each year, zoos have remained outside of the realm of philosophical analysis. This lack of theoretical examination is interesting considering the paradoxical position within which a zoo is situated, being a space of animal confinement as well as a site that provides valuable tools for species conservation, public education, and entertainment. Why Do We Go to the Zoo? argues that the zoo is a legitimate space of academic inquiry. The modes of communication taking place at the zoo that keep drawing us back time and time again beg for a careful investigation. In this book, the meaning of the zoo as communicative space is explored.This book relies on the phenomenological method from Edmund Husserl and a rhetorical approach to examine the interaction between people and animals in the zoo space. Phenomenology, the philosophy of examining the engaged everyday lived experience, is a natural method to use in the project. Despite its rich history and tradition it is interesting that there are very few books explaining ';how to do' phenomenology. Why Do We Go to the Zoo? provides a detailed account of how to actually conduct a phenomenological analysis.The author spent thousands of hours in zoos watching people and animals interact as well as talking with people both formally and informally. This book asks readers to bracket their preconceptions of what goes on in the zoo and, instead, to explore the meaning of powerful zoo experiences while reminding us of the troubled history of zoos.

Ten essays provide a new approach to the work of the most popular American poet of all time. The essays, written by a new generation of Longfellow scholars, cover the entire range of Longfellow's work, from the early poetry to the wildly successful epics of his middle period (Evangeline, The Song of Hiawatha) to his Chaucerian collection of stories published after the Civil War, Tales of a Wayside Inn. Many of the essays rely on unpublished archival sources from the Longfellow collections at the Longfellow House-George Washington National Historic Site and at the Houghton Library in Cambridge, Massachusetts.

This book examines the close relationship between the portrayal of foreigners and the delineation of culture and identity in antebellum American writing. Both literary and historical in its approach, this study shows how, in a period marked by extensive immigration, heated debates on national and racial traits, during a flowering in American letters, encouraged responses from American authors to outsiders that not only contain precious insights into nineteenth-century America's self-construction but also serve to illuminate our own time's multicultural societies. The authors under consideration are alternately canonical (Emerson, Hawthorne, Melville), recently rediscovered (Kirkland), or simply neglected (Arthur). The texts analyzed cover such different genres as diaries, letters, newspapers, manuals, novels, stories, and poems.

This book explores the oneiric in Italian cinema from filmic representations and visualizations of dreams, nightmares, hallucinations, and dream-like and hypnotic states, to dreams as cinematic allegories and metaphors and the theoretical frameworks applied to the investigation of this relationship.

This volume foments exploration of how Spanish cities, big and small, are experiencing transformation in architecture, popular customs and festivals, economics, family dynamics, and social and political agency through the arrival of new residents from around the globe.

The First Great Awakening, an unprecedented surge in Protestant Christian revivalism in the Eighteenth Century, sparked enormous of controversy at the time and has been a source of scholarly debate ever since. Few historians have sought to write a synthetic history of the First Great Awakening, and in recent decades it has been challenged as having happened at all, being either an exaggeration or an ';invention.' The First Great Awakening expands the movement's geographical, theological, and sociopolitical scope. Rather than focus exclusively on the clerical elites, as earlier studies have done, it deals with them alongside ordinary people, and includes the experiences of women, African Americans, and Indians as the observers and participants they were. It challenges prevailing scholarly opinion concerning what the revivals were and what they meant to the formation of American religious identity and culture.Cover image: NPG 131, George Whitefield by John Wollaston, oil on canvas, circa 1742. National Portrait Gallery, London

This book is the first systematic study in decades of Malory's development of his characters in the Morte Darthur. Focusing on sixteen key figures in the most important medieval English treatment of the Arthurian saga, it examines Malory's thematic characterization of individual rulers, knights, and ladies in keeping with the twin trajectories of his history of the Round Table and fifteenth-century English history. Looking at how Malory develops his characters as exemplars of kingship, knighthood, and womanhood, the book traces the medieval author's exploration of the values constituting chivalry as embodied in individual characters, a process that enabled him to formulate a vision of those values for his own troubled period of the Wars of the Roses. This book further explores the contribution Malory's art of characterization makes to the literary and aesthetic power of the Morte Darthur. Each chapter's focus on individual characters makes the book not only an integrated thematic overview, but also a useful reference for focused study of particular Arthurian figures. As such, the book is designed to meet the interests and needs of both professional scholars and students of Arthurian and medieval literature.

Yeats, Shakespeare, and Irish Cultural Nationalism examines Yeats's writing on Shakespeare in the context of his work on behalf of the Irish Literary Revival. While Shakespeare's verse drama provides a source of inspiration for Yeats's poetry and plays, Yeats also writes about Shakespeare in essays and articles promoting the ideals of the Revival, and on behalf of Irish literary nationalism. These prose pieces reveal Yeats thinking about Shakespeare's art and times throughout his career, and taken together they offer a new perspective on the contours of Yeats's cultural politics. This book identifies three stages of Yeats's cultural nationalism, each of which appropriates England's national poet in an idiosyncratic manner, while reflecting contemporary trends in Shakespeare reception. Thus Yeats's fin-de-siecle Shakespeare is a symbolist poet and folk-artist whose pre-modern sensibility detaches him from contemporary English culture and aligns him with the inhabitants of Ireland's rural margins. Next, in the opening decade of the twentieth century, following his visit to Stratford to see the Benson history cycle, Yeats's work for the Irish National Theatre adopts an avant-garde, occultist stagecraft to develop an Irish dramatic repertoire capable of unifying its audience in a shared sense of nationhood. Yeats writes frequently about Shakespeare during this period, locating on the Elizabethan stage the kind of transformational emotional affect he sought to recover in the Abbey Theatre. Finally, as Ireland moves towards political independence, Yeats turns again to Shakespeare to register his disappointment with the social and cultural direction of the nascent Irish state. In each case, Yeats's thinking about Shakespeare responds to the remarkable conflation of aesthetic and religious philosophies constituting his cultural nationalism, thus making a unique case of Shakespearean reception. Taken together, Yeats's writings deracinate Shakespeare, and so contribute significantly to the process by which Shakespeare has come to be seen as a global artist, rather than a specifically English possession.

The subject of this book is the controversyone of the oldest in philosophyabout whether it is possible to have freedom in the face of universal causal determinism. Of course, it is crucial to consider what such freedom might meanin particular, there is an important distinction between libertarian ';free will' and the more naturalistic view of freedom taken by compatibilists.This book provides background for laypersons through a historical survey of earlier views and some discussion and criticism of various contemporary views. In particular, it states and discusses the Consequence Argument, the most important argument challenging human freedom in recent literature. The main feature of the book is the argument for a solution: one that is within the compatibilist tradition, is naturalistic and in accord with findings of science and principles of engineering control theory. Some particular features of the offered solution include an argument for a close tie between freedom and controlwhere what is meant is the voluntary motion control of our bodies, and this ';control' is understood naturalistically, by which the author means in accordance with concepts of engineering control theory and modern science. Such concepts are used to explain and demarcate the concept of ';control' being used. Then it develops a working conception of what rationality is (since what is crucial is freedom in choice, and rationality is crucial to that), by reviewing texts on the subject by three expert authors (namely, Nathanson, Nozick, and Searle). It is argued that rationality is a species of biological learning control that involves deliberation; and that our freedom in choice is greatest when our choices are most rational.

This book examines American literary texts whose portrayal of American identity involves the incorporation of a foreign body as the precondition for a comprehensive understanding of itself. This nexus of disconcerting textual dynamics arises precisely insofar as both citizen/subject and national identity depend upon a certain alterity, an other which constitutes the secondary term of a binary structure. American identity thus finds itself ironically con-fused and interwoven with another culture or another nation, double-crossed in the enactment of itself. Individual chapters are devoted to Benjamin Franklin, Washington Irving, Frederick Douglass, Louisa May Alcott, Nathaniel Hawthorne, and Mark Twain.

Dealing with Thomas Paines Common Sense (1776), John Trumbulls MFingal (1776-82), Philip Freneaus The British-Prison Ship (1781), J. Hector St. John de Crevecoeurs Letters from an American Farmer (1782), and Washington Irvings Rip Van Winkle (1819-20), Steven Blakemore breaks new ground in assessing the strategies of subversion and intertextuality used during the American Revolution. Blakemore also crystallizes the historical contexts that link these works together contexts that have been missed or overlooked by critics and scholars. The five works additionally illuminate issues of history (The Norman Conquest, the English Civil War, and the French Revolution) and gender as they impinge on American-revolutionary discourse. The result is five new readings of significant revolutionary-era works that suggest fruitful entries into other literatures of the Revolution. Blakemore demonstrates the nexus between literature and history in the revolutionary era and how it created an intertextual dialogue in the formation of the first postcolonial critiques of the British Empire.

Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moliere's Impromptu de Versailles with ';impromptus' by Jean Cocteau, Jean Giraudoux, and Eugene Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.

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

The essays in this volume explore how Franklin's political and philosophical thinking was informed, while examining the deep appeal that Franklin has had on generation after generation of Americans.

This book revisits the philosophy and aesthetic Elsa Morante outlined in her literary writings. Stefania Lucamante presents a fresh outlook at Morante's work to determine the importance of her work today, to appreciate her theoretical and stylistic legacy, and to understand why and which elements of her work have inspired Italian artists.

Known by mobsters as ';the man who couldn't be bought,' Brendan Byrne led New Jersey into a new era when he won the state's gubernatorial election by a landslide in the wake of political corruption scandals. A former prosecutor and judge, Byrne was soon condemned as ';one-term Byrne,' the inept politician who few thought would risk the humiliation of standing for a second term. Yet Byrne surprised both friend and foe alike by pulling off the state's most remarkable political comeback, winning re-election and leaving a legacy of preserving the vast resources of the Pinelands, enacting the state's first income tax and comprehensive school financing reform, developing the Meadowlands, approving casino gambling in Atlantic City, and initiating strong environmental controls to combat pollution.

Shakespeare's Style presents a detailed consideration of aspects of Shakespeare's writing style in his plays. Each chapter offers a detailed discussion about a single feature of style in a chosen Shakespeare play. Topics examine include: a discussion of a key image or images, both verbal and nonverbal; consideration of the way a character is put together; reflection of the changing audience response to a character; and audience response to an account of the speech rhythms of a single play. This book will be of interest to audiences who see Shakespeare's plays, readers of the printed page, and students aiding them in concentrating on the significant ways that Shakespeare expresses himself.