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Countercurrents
In their readings of texts, the authors address the topics of theory, narrative, aesthetics, the idea of the text, and of specific moments in cultural history. The chapters cover a range of authors: Plato, Ovid, Dante, Petrarch, Chariteo, Ariosto, Tasso, Cervantes, Kleist, Gode, Edith Wharton, Pirandello, Kafka, Sartre, Saint-John Perse, Paz, Roubaud, Sanguineti, and Tomlinson. They also deal with philosophers: Peirce, Nietzsche, Saussure, Husserl, Marc Bloch, Lucien Febvre, Heidegger, Jakobson, Sartre, Lévi-Strauss, Barthes, Derrida, Foucault, Lacan, Lyotard, and Deleuze. The book opens up our relationships to the past and the usefulness or otherwise of the metaphors we use in our attempt to understand and participate in it. Although Countercurrents deals diversely with literary periods, authors, and critics, it speaks within the civilized and civilizing universe of our language and the texts we create. Running beneath the antihumanistic flotilla that skims the surface of texts for theory, the authors plumb for treasures from the ocean's floor.
Dante, Cinema, and Television
The Divine Comedy of Dante Alighieri (1265-1321) is one of the seminal works of western literature. Its impact on modern culture has been enormous, nourishing a plethora of twentieth century authors from Joyce and Borges to Kenzaburo Oe. Although Dante's influence in the literary sphere is well documented, very little has been written on his equally determining role in the evolution of the visual media unique to our times, namely, cinema and television. Dante, Cinema, and Television corrects this oversight. The essays, from a broad range of disciplines, cover the influence of the Divine Comedy from cinema's silent era on through to the era of sound and the advent of television, as well as its impact on specific directors, actors, and episodes, on national/regional cinema and television, and on genres. They also consider the different modes of appropriation by cinema and television. Dante, Cinema, and Television demonstrates the many subtle ways in which Dante's Divine Comedy has been given 'new life' by cinema and television, and underscores the tremendous extent of Dante's staying power in the modern world.
The Daily Washington Law Reporter
Vols. for 1902- include decisions of the District of Columbia Court of Appeals and various other courts of the District of Columbia.
The Black Middle Ages
The Black Middle Ages examines the influence of medieval studies on African-American thought. Matthew X. Vernon focuses on nineteenth century uses of medieval texts to structure racial identity, but also considers the flexibility of medieval narratives more broadly in the medieval period, twentieth and twenty-first centuries. This book engages disparate discourses to reassess African-American positionalities in time and space. Utilizing a transhistorical framework, Vernon reflects on medieval studies as a discipline built upon a contended set of ideologies and acts of imaginative appropriation visible within source texts and their later mobilizations.
The Boston Directory
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Metamorphosing Dante
After almost seven centuries, Dante endures and even seems to haunt the present. Metamorphosing Dante explores what so many authors, artists and thinkers from varied backgrounds have found in Dante’s oeuvre, and the ways in which they have engaged with it through rewritings, dialogues, and transpositions. By establishing trans-disciplinary routes, the volume shows that, along with a corpus of multiple linguistic and narrative structures, characters, and stories, Dante has provided a field of tensions in which to mirror and investigate one’s own time. Authors explored include Samuel Beckett, Walter Benjamin, André Gide, Derek Jarman, LeRoi Jones/Amiri Baraka, James Joyce, Wolfgang Koeppen, Jacques Lacan, Thomas Mann, James Merrill, Eugenio Montale, Pier Paolo Pasolini, Cesare Pavese, Giorgio Pressburger, Robert Rauschenberg, Vittorio Sereni, Virginia Woolf.
