- Table View
- List View
Divining Nature: Aesthetics of Enchantment in Enlightenment France
by Tili Boon CuilléThe Enlightenment remains widely associated with the rise of scientific progress and the loss of religious faith, a dual tendency that is thought to have contributed to the disenchantment of the world. In her wide-ranging and richly illustrated book, Tili Boon Cuillé questions the accuracy of this narrative by investigating the fate of the marvelous in the age of reason. Exploring the affinities between the natural sciences and the fine arts, Cuillé examines the representation of natural phenomena—whether harmonious or discordant—in natural history, painting, opera, and the novel from Buffon and Rameau to Ossian and Staël. She demonstrates that philosophical, artistic, and emotional responses to the "spectacle of nature" in eighteenth-century France included wonder, enthusiasm, melancholy, and the "sentiment of divinity." These "passions of the soul," traditionally associated with religion and considered antithetical to enlightenment, were linked to the faculties of reason, imagination, and memory that structured Diderot's Encyclopédie and to contemporary theorizations of the sublime. As Cuillé reveals, the marvelous was not eradicated but instead preserved through the establishment and reform of major French cultural institutions dedicated to science, art, religion, and folklore that were designed to inform, enchant, and persuade. This book has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
Division Street
by Helen Mort*SHORTLISTED FOR THE T.S ELIOT PRIZE AND COSTA POETRY AWARD 2013*'A stone is lobbed in '84, hangs like a star over Orgreave. Welcome to Sheffield. Border-land,our town of miracles...' - 'Scab'From the clash between striking miners and police to the delicate conflicts in personal relationships, Helen Mort's stunning debut is marked by distance and division. Named for a street in Sheffield, this is a collection that cherishes specificity: the particularity of names; the reflections the world throws back at us; the precise moment of a realisation. Distinctive and assured, these poems show us how, at the site of conflict, a moment of reconciliation can be born.
Diwan 'Antarah ibn Shaddad: A Literary-Historical Study (Library of Arabic Literature #56)
by James E. MontgomeryThe pre-Islamic warrior-poet 'Antarah ibn Shaddad, a composer of one of the Mu'allaqat, attracted the attention of the philologists who were active in Iraq at the nascence of the scholarly study of Arabic. These philologists collected and studied the diwan of 'Antarah as part of their recovery and codification of the Jahiliyyah: 'Antarah became one of the Six Poets, a collection of pre-Islamic poets associated with al-Asma'i, “the father of Arabic philology.” Two centuries later, in al-Andalus, al-Shantamari and al-Batalyawsi composed their commentaries on the diwans of the Six Poets. This study uncovers the literary history of 'Antarah’s diwan and presents five editions, with critical apparatus, of the extant recensions, based on an extensive collation of the surviving manuscripts.An Arabic edition with English scholarly apparatus.
Dixie Bohemia: A French Quarter Circle in the 1920s (Walter Lynwood Fleming Lectures in Southern History)
by John Shelton ReedIn the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age.Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists.The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class. A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.
Djeha, the North African Trickster
by Christa C. JonesDjeha—also known as Juha, Jeh’a, and Ch’ha, among many variations—is an iconic figure, the trickster hero of an oral folktale tradition that has existed for centuries. The famous Maghrebian prankster is a poor, cunning, and resourceful character that delights in immoral behavior. Orientalists Auguste Mouliéras (1855-1931) and René Basset (1855-1924) were among the first Frenchmen to collect and translate popular Berber folktales. Today, trickster folktales from Algeria’s mountainous Kabylia region are not well known in the Anglophone world, even though they continue to be highly popular in France and in North Africa. Djeha, the North African Trickster is an annotated, critical translation of Auguste Mouliéras’s folktale collection Les Fourberies de Si Djeh’a, first published in French in 1892.The volume contains sixty tales and an in-depth introduction in which Christa C. Jones discusses jocular literature in Islam, the widespread oral folktale tradition linked to Djeha and his Turkish twin brother Nasreddin Hoca, and the impact of colonialism on the gathering and dissemination of the tales. The trickster is at the center of six themed chapters: “Family and Kinship”; “Animal Tales"; “Faces, Places, or Daily Life in the Village"; “Foodways”; “The Intricacies of Hospitality: Beware of Friends and Foes!"; and “Religion, Death, and the Afterlife.” Each chapter contains ten folktales preceded by a short introduction that contextualizes the pieces using historical, folkloristic, literary, and ethnographical sources. Ultimately, the book contributes to the preservation of an ancestral oral heritage, delivering this enduring character to new audiences.
Djuna Barnes' Consuming Fictions
by Diane WarrenDjuna Barnes (1892-1982) was a pioneering female journalist, experimental novelist, playwright, and poet whose influence on literary modernism was profound and whose writings anticipated many of the preoccupations of poststructuralist and feminist thought. In her new book,the author argues that Barnes' writings made significant contributions to gender and aesthetic debates in their immediate early twentieth-century context, and that they continue to contribute to present-day debates on identity. In particular, Warren traces the works' close engagement with the effects of cultural boundaries on the individual, showing how the journalism, Ryder, Ladies Almanack, and the early chapters of Nightwood energetically and playfully subvert such boundaries. In this reading, Nightwood is contextualised as a pivotal text which poses questions about the limits of subversion, thereby positioning The Antiphon (1958) as an analysis of why such boundaries are sometimes necessary. Djuna Barnes' Consuming Fictions shows that from the irreverent and carnivalesque iconoclasm of Barnes' early works, to the bleak assessment that conflict lies at the root of culture, seen from the close of Nightwood, Barnes' oeuvre offers a profound analysis of the relationship between culture, the individual and textual expression.
Djuna Barnes, T. S. Eliot and the Gender Dynamics of Modernism: Tracing Nightwood
by Monika FaltejskovaThis study looks at the origins of the modernist movement, linking gender, modernism and the literary, before considering the bearing these discourses had on Djuna Barnes's writing. The main contribution of this innovative and scholarly work is the exploration of the editorial changes that T. S. Eliot made to the manuscript of Nightwood, as well as the revisions of the early drafts initiated by Emily Holmes Coleman. The archival research presented here is a significant advance in the scholarship, making this volume invaluable to both teachers and students of modern literature and Barnesian scholars.
Do I Make Myself Clear?: Why Writing Well Matters
by Harold EvansA wise and entertaining look at the struggle for clarity in modern journalism by one of the greatest newspaper editors of our time. Harry Evans has edited everything from the urgent files of battlefield reporters to the complex thought processes of Henry Kissinger. He's even been knighted for his services to journalism. In DO I MAKE MYSELF CLEAR?, he brings his indispensable insight to us all in his definite guide to writing well.The right words are oxygen to our ideas, but the digital era, with all of its TTYL, LMK, and WTF, has been cutting off that oxygen flow. The compulsion to be precise has vanished from our culture, and in writing of every kind we see a trend towards more--more speed and more information but far less clarity. Evans provides practical examples of how editing and rewriting can make for better communication, even in the digital age. DO I MAKE MYSELF CLEAR? is an essential text, and one that will provide every writer an editor at his shoulder.
Do I Make Myself Clear?: Why Writing Well Matters
by Harold EvansHarold Evans has edited everything from the urgent files of battlefield reporters to the complex thought processes of Henry Kissinger, and he has been knighted for his services to journalism. In Do I Make Myself Clear?, his definitive guide to writing well, Evans brings his indispensable insight to the art of clear communication.The right words are oxygen to our ideas, but the digital era, with all of its TTYL, LMK and WTF, has been cutting off that oxygen flow. The compulsion to be precise has vanished from our culture, and in writing of all kinds we see a trend towards more - more speed and more information, but far less clarity. Evans provides practical examples of how editing and rewriting can make for better communication, even in the digital age. Do I Make Myself Clear? is an essential text, and one that will provide every reader an editor at their shoulder.
Do I Really Have to Teach Reading? Content Comprehension, Grades 6-12
by Cris Tovani"Do I really have to teach reading?" This is the question many teachers of adolescents are asking, wondering how they can possibly add a new element to an already overloaded curriculum. And most are finding that the answer is "yes. " If they want their students to learn complex new concepts in different disciplines, they often have to help their students become better readers. Building on the experiences gained in her own language arts classroom as well as those of colleagues in different disciplines, Cris Tovani, author ofI Read It, but I Don't Get It, takes on the challenge of helping students apply reading comprehension strategies in any subject. In Do I Really Have to Teach Reading?, Cris shows how teachers can expand on their content expertise to provide instruction students need to understand specific technical and narrative texts. The book includes: examples of how teachers can model their reading process for students; ideas for supplementing and enhancing the use of required textbooks; detailed descriptions of specific strategies taught in context; stories from different high school classrooms to show how reading instruction varies according to content; samples of student work, including both struggling readers and college-bound seniors; a variety of "comprehension constructors": guides designed to help students recognize and capture their thinking in writing while reading; guidance on assessing students; tips for balancing content and reading instruction. Cris's humor, honesty, and willingness to share her own struggles as a teacher make this a unique take on content reading instruction that will be valuable to reading teachers as well as content specialists.
Do Metaphors Dream of Literal Sleep?: A Science-Fictional Theory of Representation
by Seo-Young ChuIn culture and scholarship, science-fictional worlds are perceived as unrealistic and altogether imaginary. Seo-Young Chu offers a bold challenge to this perception of the genre, arguing instead that science fiction is a form of “high-intensity realism” capable of representing non-imaginary objects that elude more traditional, “realist” modes of representation. Powered by lyric forces that allow it to transcend the dichotomy between the literal and the figurative, science fiction has the capacity to accommodate objects of representation that are themselves neither entirely figurative nor entirely literal in nature. Chu explores the globalized world, cyberspace, war trauma, the Korean concept of han, and the rights of robots, all as referents for which she locates science-fictional representations in poems, novels, music, films, visual pieces, and other works ranging within and without previous demarcations of the science fiction genre. In showing the divide between realism and science fiction to be illusory, Do Metaphors Dream of Literal Sleep? sheds new light on the value of science fiction as an aesthetic and philosophical resource—one that matters more and more as our everyday realities grow increasingly resistant to straightforward representation.
Do Not Interrupt: A Playful Take on the Art of Conversation
by Stephen KuusistoIn this erudite and playful primer on the art of conversation, Stephen Kuusisto vigorously tackles the slippery subject of how to converse meaningfully with others. Kuusisto employs a wide range of personal anecdotes, classical texts, and an engaging style to illustrate his points. In seven short, provocative and imaginatively wrought chapters, he spins a compelling argument for the joys of "being connected," and skillfully shows how to achieve this bond in everyday exchanges.
Do Not Separate Her from Her Garden: Anne Spencer’s Ecopoetics
by Carlyn Ena FerrariAnne Spencer’s identity as an artist grew from her relationship to the natural world. During the New Negro Renaissance with which she is primarily associated, critics dismissed her writings on nature as apolitical and deracinated. Do Not Separate Her from Her Garden corrects that misconception, showing how Spencer used the natural world in innovative ways to express her Black womanhood, feminist politics, spirituality, and singular worldview. Employing ecopoetics as an analytical frame, Carlyn Ferrari recenters Spencer’s archive of ephemeral writings to cut to the core of her artistic ethos. Drawing primarily on unpublished, undated poetry and prose, this book represents a long overdue reassessment of an underappreciated literary figure. Not only does it resituate Spencer in the pantheon of American women of letters, but it uses her environmental credo to analyze works by Alice Walker, Zora Neale Hurston, and Dionne Brand, positioning ecocritical readings as a new site of analysis of Black women’s writings.
Do You Hear What I Hear?: An Unreligious Writer Investigates Religious Calling
by Minna ProctorHow does a young, secular intellectual understand her sixtyish university-professor father's sudden calling to become an Episcopal priest? This is the question that inspired Minna Proctor's candid, intelligent, and provocative examination. When her father is summarily rejected, Proctor sets out to find out why the Church makes it so insanely (and appropriately) difficult to join the priesthood and to uncover the historical and doctrinal foundations of its "discernment" process. Confronting the cultural forces that shaped her unreligious early life, her parents' divorce, and her father's spiritual awakening, Do You Hear What I Hear? is at once an intellectual quest based on interviews with clergy and religious scholars and readings of classic faith narratives, a wry document of filial love and incomprehension, and a layperson's fascinating perspective on spiritual calling.
Do You Hear What I Hear?: An Unreligious Writer Investigates Religious Calling
by Minna ProctorAt the first revelation that her father, a sixtyish university professor, wants to become an Episcopal priest, Minna Proctor is flummoxed. She neither encourages nor disparages him because she simply doesn’t know what it means. Brought up primarily by her mother in a household without any religious expression or guidance, Proctor was surprised to learn that her unconventionally charming, intellectual father had a religious life, and what’s more, a higher calling. When he is summarily turned away, Proctor delves into the byzantine discernment process that rejected her father from the priesthood and the pivotal notion of calling.
Do You Really Want to Visit a Wetland? (Into Reading, Read Aloud Module 7 #3)
by Bridget Heos Daniele FabbriNIMAC-sourced textbook
Do You Talk Funny?: 7 Comedy Habits to Become a Better (and Funnier) Public Speaker
by David NihillPublic speaking can be terrifying. For David Nihill, the idea of standing in front of an audience was scarier than cliff jumping into a thorny pit of spiders and mothers-in-law. Without a parachute or advanced weaponry. Something had to change. In what doesn't sound like the best plan ever, David decided to overcome his fears by pretending to be an accomplished comedian called "Irish Dave" for one full year, crashing as many comedy clubs, festivals, and shows as possible. One part of the plan was at least logical: he was already Irish and already called Dave. In one year, David went from being deathly afraid of public speaking to hosting a business conference, regularly performing stand-up comedy and winning storytelling competitions in front of packed houses. And he did it by learning from some of the best public speakers in the world: stand-up comedians. Do You Talk Funny?: 7 Comedy Habits to Become a Better (and Funnier) Public Speaker shows how the key principles of stand-up comedy can be applied to your speaking engagements and presentations to make you funnier, more interesting, and better looking. (Or at least two of the three.) Whether you are preparing for a business presentation, giving a wedding toast, defending your thesis, raising money from investors, or simply want to take on something you're afraid of, this book will take you from sweaty to stage-ready. You'll learn how to: - Craft a story and content that your audience will want to listen to - Find the funniest parts of your material and how to get to them faster - Deal with stage fright - Master the two most important parts of your performance: timing and delivery Ten percent of the author's proceeds from this book will go to Arash Bayatmakou via Help Hope Live until he is fully back on his feet and thereafter to one of the many facing the same challenges after suffering a severe spinal cord injury.
Do You Want to Be Happy and Write?: Critical Essays on Michael Ondaatje
by Robert LeckerMichael Ondaatje has achieved international prominence and recognition in a way that few other writers have, let alone Canadian writers. This popularity is most pronounced for works of historical fiction such as The English Patient, winner of the Golden Man Booker Prize, and In the Skin of a Lion, set in 1930s Toronto, shortlisted for the Governor General’s Award and winner of the Canada Reads competition in 2002. But Ondaatje has been writing for over fifty years, and his innovative works include some of the most accomplished poetry in the English-speaking world.Taking its title from a question in his poem “Tin Roof,” Do You Want to Be Happy and Write? reassesses Ondaatje’s writing and the role of the poet, from his troubled explorations of the self-reflexive artist to his most recent novels. Comprehensive in both approach and coverage, this new collection offers groundbreaking analysis informed by an understanding of Ondaatje’s entire oeuvre, placing early poetry collections like The Collected Works of Billy the Kid and There’s a Trick with a Knife I’m Learning to Do alongside the full range of his novels and his extensive work as a literary editor. The book highlights the transnational, postcolonial, and diasporic issues that have become increasingly apparent in Ondaatje’s work. Contributors explore key interests that have reappeared and been rethought across his fiction and poetry: the construction of identity; the nature of memory and its relation to family origins and history; the human body as a site of contestation and struggle; the contrast between Eastern and Western values and the Southeast Asian diaspora; the writer’s responsibility in depictions of war, psychic trauma, and genocide; and an ongoing fascination with the visual and the media of photography and film.An eclectic celebration of an iconic author, Do You Want to Be Happy and Write? offers an authoritative reference point for scholars and students of literature and reveals new facets of a major author to his readers around the world.
Do the Americas Have a Common Literature?
by Gustavo Pérez FirmatThis volume takes an important step toward the discovery of a common critical heritage that joins the diverse literatures of North America and Latin America. Traditionally, literary criticism has treated the literature of the Americas as "New World" literature, examining it in relation to its "Old World"--usually European--counterparts. This collection of essays redirects the Eurocentric focus of earlier scholarship and identifies a distinctive pan-American consciousness.The essays here place the literature of the Americas in a hemispheric context by drawing on approaches derived from various schools of contemporary critical thought--Marxism, feminism, culture studies, semiotics, reception aesthetics, and poststructuralism. As part of their search for a distinctly New World literary idiom, the contributors engage not only the major North American and Spanish American writers, but also such "marginal" or "minor" literatures as Chicano, African American, Brazilian, and Québecois. In identifying areas of agreement and confluence, this work lays the groundwork for finding historical, ideological, and cultural homogeneity in the imaginative writing of the Americas.Contributors. Lois Parkinson Zamora, David T. Haberly, José David Saldívar, Antonio Benítez-Rojo, José Piedra, Doris Sommer, Enrico Mario Santí, Eduardo González, John Irwin, Wendy B. Faris, René Prieto, Jonathan Monroe, Gustavo Pérez Firmat
Do the Media Govern? Politicians, Voters, and Reporters in America
by Richard Reeves Shanto IyengarEssays.
Do the Poor Count?: Democratic Institutions and Accountability in a Context of Poverty (G - Reference, Information and Interdisciplinary Subjects)
by Michelle M. Taylor-RobinsonLatin America’s flirtation with neoliberal economic restructuring in the 1980s and 1990s (the so-called Washington Consensus strategy) had the effect of increasing income inequality throughout the region. The aim of this economic policy was in part to create the conditions for stable democracy by ensuring efficient economic use of resources, both human and capital, but the widening gap between rich and poor threatened to undermine political stability. At the heart of the dilemma faced by these new democracies is the question of accountability: Are all citizens equally capable of holding the government accountable if it does not represent their interests? In this book, Michelle Taylor-Robinson investigates both the formal institutions of democracy (such as electoral rules and the design of the legislative and executive branches) and informal institutions (such as the nomination procedures of political parties and patron-client relationships) to see what incentives legislators have to pay attention to the needs of poor people and thereby adequately represent their interests.
Do you Really Want to Meet A Tiger
by Cari MeisterA child goes on an adventure to Russia as a junior researcher to study tigers in the wild, and learns about this endangered species.
Dockside Reading: Hydrocolonialism and the Custom House
by Isabel HofmeyrIn Dockside Reading Isabel Hofmeyr traces the relationships among print culture, colonialism, and the ocean through the institution of the British colonial Custom House. During the late nineteenth and early twentieth centuries, dockside customs officials would leaf through publications looking for obscenity, politically objectionable materials, or reprints of British copyrighted works, often dumping these condemned goods into the water. These practices, echoing other colonial imaginaries of the ocean as a space for erasing incriminating evidence of the violence of empire, informed later censorship regimes under apartheid in South Africa. By tracking printed matter from ship to shore, Hofmeyr shows how literary institutions like copyright and censorship were shaped by colonial control of coastal waters. Set in the environmental context of the colonial port city, Dockside Reading explores how imperialism colonizes water. Hofmeyr examines this theme through the concept of hydrocolonialism, which puts together land and sea, empire and environment.
Doctor Dolittle’s Delusion: Animals and the Uniqueness of Human Language
by Stephen R. AndersonCan animals be taught a human language and use it to communicate? Or is human language unique to human beings, just as many complex behaviors of other species are uniquely theirs? This engrossing book explores communication and cognition in animals and humans from a linguistic point of view and asserts that animals are not capable of acquiring or using human language. Stephen R. Anderson explains what is meant by communication, the difference between communication and language, and the essential characteristics of language. Next he examines a variety of animal communication systems, including bee dances, frog vocalizations, bird songs, and alarm calls and other vocal, gestural, and olfactory communication among primates. Anderson then compares these to human language, including signed languages used by the deaf. Arguing that attempts to teach human languages or their equivalents to the great apes have not succeeded in demonstrating linguistic abilities in nonhuman species, he concludes that animal communication systems--intriguing and varied though they may be--do not include all the essential properties of human language. Animals can communicate, but they can't talk.
Doctor Faustus: Playscript (More For Teens Ser.)
by Christopher MarloweIn this classic and much-loved edition of Marlowe's best-known play, John D. Jump provides the reader with a wealth of introductory and explanatory material. As well as a fascinating chronology of Marlowe's life and works and extensive notes on the text, this edition includes a substantial and authoritative historical introduction to the play. An essential text whether studying the play in detail or coming to it for the first time.