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Spinoza in English
Spinoza in English is the first bibliography to bring together the entire 325-year record of books, monographs, dissertations, and articles in English on Benedict de Spinoza (1632-1677), including translations of his works into English. Well over 2100 citations are presented, bringing this record through early 1991. Arranged alphabetically by author or editor and internally cross-referenced for ease of use, this bibliography also cites its own sources where appropriate and, in many cases, provides guidance on how to obtain unpublished or out-of- print titles. Additionally, it restores or corrects a good deal of earlier bibliographic detail, identifies dozens of publications hitherto overlooked, and, beginning with titles from the mid-1800's, presents the citations in a uniform style.
The Russian Hero in Modern Chinese Fiction
The Russian influence took root in the Chinese intellectual tradition that evolved after the Literary Revolution of 1917. When the Chinese communists turned to Russia for their inspiration they also accepted the Russian version of the novels form and function in society. However, they did not accept it uncritically. Chinese understanding of the arts goes back for thousands of years and thus Chinese intellectuals brought their own kinds of tradition and intelligence to these new arts and political solutions. In this lucid study, the author demonstrates how Chinese writers, guided by Russian authors such as Chekhov, Turgenev, and Andreyev, created works of art that are both original and Chin...
Penelope and Ulysses
The love of Penelope and Ulysses is undying. Penelope and Ulysses explores the historical and yet contemporary journey into the life and struggles of Penelope, a woman who refuses to be dispirited or defeated. Hers is a strange, complex, and multifaceted world. Her life, surrounded by war, is inextricably shaped by the decisions that men have made for her. Even so, Penelope refuses to be a spectator—a pawn in men’s schemes. She rides the waves of turbulence and danger, surviving on her wit, guile, and pure intelligence. She skillfully weaves her seductive plots to ultimately control the men who would control her. All the while, she schemes, always working toward her escape and eventual freedom. Penelope is well-read in the philosophies of her world, well trained in battle, and keeps her own counsel. From a life of solitude, she explores the most turbulent adventure of all—the quest for self-actualization, the ownership of her self.
The Rhetoric of Fiction
The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon. For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."
Man and Morals
Everyone is aware of the distinction between right and wrong, between what is morally good and morally bad. The distinction is made by people every day, in the home and in the school, in business and labor, in courts and police actions, in politics and in government. And yet, the attitude of many persons toward human conduct is largely amoral. People know intuitively ‘that’ some actions are morally good and others morally bad, but they are not sure ‘why’ they are so. It is therefore necessary to reaffirm the principles which underlie morality. Ethics, or moral philosophy, seeks to lay bare the natural foundations of correct living, to uncover the principles which govern morality and make individual actions to be right or wrong, and thus develop the science of right conduct.
Performing Emotions
In Performing Emotions, Peta Tait's central argument is that performing emotions in realism is also performing gender identity. This study integrates scholarship on realist drama, theatre and approaches to acting, with interdisciplinary theories of emotion, phenomenology and gender theory. With chapters devoted to masculinity and femininity specifically, as well as to emotions generally, it investigates social beliefs about emotions through Chekhov's four major plays in translation, and English language commentaries on Constantin Stanislavski's direction (of the play's first productions) and his approaches to acting, and Olga Knipper's acting of the central women characters. Tait demonstrates how theatrical emotions are predicated on embodied social performances and create cultural spaces of emotions. Performing Emotions investigates how sexual difference impacts on the representations of emotions. The book develops an accumulative analysis of the meanings of emotions in twentieth century realist drama, theatre and acting.
Producing Good Citizens
Recent global security threats, economic instability, and political uncertainty have placed great scrutiny on the requirements for U.S. citizenship. The stipulation of literacy has long been one of these criteria. In Producing Good Citizens, Amy J. Wan examines the historic roots of this phenomenon, looking specifically to the period just before World War I, up until the Great Depression. During this time, the United States witnessed a similar anxiety over the influx of immigrants, economic uncertainty, and global political tensions. Early on, educators bore the brunt of literacy training, while also being charged with producing the right kind of citizens by imparting civic responsibility an...
Russian Tragifarce
"The tradition of Russian tragifarce can be characterized by its strong links to Russian political and cultural history and by its significant role in the development of Russian dramatic literature and theater practice. The book argues that the dualistic character of Russian tragifarce, which is close in spirit and philosophy to Bakhtin's understanding of the medieval carnival, embodies the ambivalent spirit of Russian culture and politics. The book further argues that the tragifarcical perception of the world can be seen as a national characteristic of the self-doubting and ironic Russian sensibility under the influence of a repressive political regime."--BOOK JACKET.
