Coinciding with the preparations for the celebration in 2008 of Richard Wright’s 100th birthday, this new collection of critical essays on
Native Son attests to the importance and endurance of Wright’s controversial work. The eleven essays collected in this volume engage the objective of Rodopi’s Dialogue Series by creating multidirectional conversations in which senior and younger scholars interact with each other and with previous scholars who have weighed in on the novel’s import. Speaking from distant corners of the world, the contributors to this book reflect an international interest in Wright’s unique combination of literary strategies and social aims. The wide range of approaches to
Native Son is presented in five thematic sections. The first three sections cover aspects such as the historical reception of Wright’s novel, the inscription of sex and gender both in
Native Son and in other African American texts, and the influence of Africa and of vortical symbolism on Wright’s aesthetics; following is the study of the novel from the point of view of its adoption and transformation of various literary genres—the African American jeremiad, the protest novel, the crime novel and courtroom drama, the
Bildungsroman, and the Biblical modes of narration. The closing section analyzes the novel’s lasting influence through its adaptation to other artistic fields, such as the cinema and song in the form of hip-hop. The present volume may, therefore, be of interest for students who are not very familiar with Wright’s classic text as well as for scholars and Richard Wright specialists.
This volume contains nineteen essays — eighteen here presented for the first time — exploring the question of subjectivity as seen from an ethical perspective. Part I concerns the phenomenological development of Cartesianism and the concept of
narrative identity, with essays addressing Levinas' idea of the Other, Ricoeur's Christianisation of Levinas, and Dennet's concept of folk psychology. Part II concerns the experience of reading ethically, as mediated through genealogy and psychoanalysis. The essays address the discourses of philosophy, psychoanalysis, film and literature, and are informed by Nietzsche, Freud, Foucault and Lacan among others. The volume will interest philosophers and critical theorists. Karl Simms provides comprehensive introductions to each of the parts, making the book accessible to informed general readers with an interest in cultural studies.
The essays in this volume provide rich fodder for reflection on topics that are of urgent interest to all thinking people. Each one suggests new ways to contemplate our own role(s) in the production and promotion of evil. The authors encourage the reader to be challenged, outraged, and disturbed by what you read here. The eighth gathering of Global Perspectives on Evil and Human Wickedness, which took place in Salzburg in March 2007, provided a look at evil past, present, and future, from a broad spectrum of disciplinary perspectives. Papers were presented on the Holocaust, genocide, violence, sadism, pædophilia, physical, verbal, and visual weapons of mass destruction, and on the effects of a variety of media on our apperception of and responses to evil. One of the overarching themes that emerged was the ethical role of the observer or witness to evil, the sense that all of our writings are, in an echo of Thomas Merton’s salient phrase, the conjectures of guilty bystanders. The notion of complicity was examined from a number of angles, and imbued the gathering with a sense of urgency: that our common goal was to engender change by raising awareness of the countless and ubiquitous ways in which evil can be actively or passively carried on and promoted. The papers selected for this volume provide a representative sample of the lively, provocative, and often disturbing discussions that took place over the course of that conference. This volume also contains a few papers from a sister conference, Cultures of Violence, which was held in Oxford in 2004. These papers have been included here because of their striking relevance to the themes that emerged in the Evil conference of 2007.
This volume contains nineteen essays — eighteen here presented for the first time — exploring the question of subjectivity as seen from a linguistic perspective. Part I concerns the relationship between the linguistic subject, particularly the grammatical first person, and the subject in more general sense of ‘person'. Topics covered include deixis, verbal marking and temporalisation, and performatives. Part II concerns the relationship of subjectivity to the experience of reading, and as such considers the semiotics of both literary and non-literary texts, inter-modal representation, authorship and intertextuality. The essays in the volume are principally influenced by the thinking of Saussure, Jakobson, Guillaume, Benveniste, Wittgenstein, Barthes and Deleuze, and the book will appeal to scholars with an interest in theoretical linguistics, semiotics, discourse, analysis and philosophy of language. Karl Simms provides comprehensive introductions to each of the parts, making the book accessible to inform general readers with an interest in cultural and communication studies.
This exciting new volume presents recent research by internationally recognised Joyce scholars from Europe and North America. Entitled
Joycean Unions: Post-Millennial Essays from East to West, it pays particular attention to contemporary Eastern and Western European perspectives on the immensely influential work of the Irish writer James Joyce (1882-1941). The essays collected in this volume uncover various European sources of inspiration for Joyce’s early aesthetic theories, for the “Sirens”, “Cyclops”, “Circe” and “Eumaeus” episodes of his modernist masterwork
Ulysses (1922) and for his last
tour de force Finnegans Wake (1939). They present inspiring new ways of reading Joyce’s work, re-investigate the fascinating phenomenon of literary “error”, and review aspects of Joyce’s varied afterlife in Ireland and Eastern Europe. The book will be of interest to scholars, students and the general audience interested in English literature, Modernism, European Studies, Irish Studies and of course the works of James Joyce.
This volume introduces ten emerging voices in German-language literature by women. Their texts speak to the diverse modalities of transition that characterise society and culture in the twenty-first century, such as the adaptation to evolving political and social conditions in a newly united Germany; globalisation, the dissolution of borders, and the changing face of Europe; dramatic shifts in the meaning of national, ethnic, sexual, gender, religious, and class identities; rapid technological advancement and the revolutionary power of new media, which in turn have radically altered the connections between public and private, personal and political. In their literature, the authors presented here reflect on the notion of transition and offer some unique interventions on its meaning in the contemporary era.
An interdisciplinary study of the Impressionist/early Modernist works of Conrad and Ford, this book aims to show how the represented temporalities (whether to do with past, present, future experience within and without the novels, or logical/structural relations of ‘before’ and ‘after’) are at the core of the won effects of both authors’ oeuvres. Looking at such well-known works as
Nostromo, The Good Soldier, The Fifth Queen, Parade’s End, the study makes use of philosophy (historical and contemporary), theology, psychoanalysis, and other sources, to re-describe, unlock and display the fertile ways in which time and historical experience are both manumitted within the tales analysed, and, recursively, within their reading experience. Ultimately, the two senses of ‘making you see’, from Conrad’s iconic Preface, are used as gambits to understand the ways in which these novels are metaphysically vibrant, symbolically hopeful- as against the more common interpretation of metaphysical dissolution and (over-determined) failure.
This collection joins together sixty essays on the philosophy of love and sex. Each was presented at a meeting of The Society for the Philosophy of Sex and Love held between 1977 and 1992 and later revised for this edition. Topics addressed include ethical and political issues (AIDS, abortion, homosexual rights, and pornography), conceptual matters (the nature, essence, or definition of love, friendship, sexual desire, and perversion); the study of classical and historical figures (Plato, Aristotle, Spinoza, Kant, and Kierkegaard); and issues in feminist theory (sexual objectification, the social construction of female sexuality, reproductive and marital arrangements). Authors include Jerome Shaffer, Sandra Harding, Michael Ruse, Richard Mohr, Russell Vannoy, Claudia Card, M.C. Dillon, Gene Fendt, Steven Emmanuel, T.F. Morris, Timo Airaksinen, and Sylvia Walsh. The editor, who is the author of Pornography (1986), The Structure of Love (1990), and Sexual Investigations (1996), has also contributed six pieces and an Introduction.
The motifs of island and shipwreck have been present in literature and the arts from ancient times. Whether they occur as plot elements, as part of literary or film imagery, as symbols in paintings, as leitmotifs in songs, or as concepts in philosophical theories, both have always been a source of fascination to authors, artists and scholars.
Shipwreck and Island Motifs in Literature and the Arts, Brigitte Le Juez and Olga Springer have gathered essays that explore shipwreck and island figures in texts as historically, culturally and artistically diverse as Walter Scott’s
The Lord of the Isles, Cristina Fernández Cubas’ “The Lighthouse”, reality TV series
Treasure Island, pop songs of the BBC Radio programme Desert Island Discs, or The Otolith Group’s essay-film
Pointed Encounters establishes the literary significance of representations of dance in poetry, song, dance manuals, and fiction written between 1750 and 1830. Presenting original readings of canonical texts and fresh readings of neglected but significant literary works, this book traces the complicated role of social dancing in Scottish culture and identifies the hitherto unexplored motif of dance as an outwardly conforming, yet covertly subversive, expression of Scottish identity during the period. The volume draws upon diverse yet mutually revealing texts, from traditional dance and music to Sir Walter Scott and contemporary Scottish women novelists, to offer students and scholars of Scottish and English literature a fresh insight into the socio-cultural context of the British state after 1746.