This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!

"Alexander Nemerov is one of the greatest readers of American visual culture. This book has the revelatory power that only wide-ranging curiosity and true independence of mind can achieve." Richard H. Brodhead President of Duke University and author of Cultures of Letters: Scenes of Reading and Writing in Nineteenth-Century America ; "A benchmark in the writing of art history and in studies of the Civil War, Acting in the Night occupies a category unto itself. It uniquely immerses the reader in a holistic experience of the Civil War and shows Nemerov as a cosummate stylist in the field of American art history."Kathleen Pyne author of Modernism and the Feminine Voice ; "This is a work of criticism that borders on poetry, a brilliant and extremely original book that invites us to rethink to the artistic world we study."Julia Reinhard Lupton author of Thinking with Shakespeare: Essays on Politics and Life ; What can the performance of a single play on one night tell us about the world this event inhabited so briefly? Alexander Nemerov takes a performance of Macbeth in Washington, D.C., on October 17, 1863--with Abraham Lincoln in attendance--to explore this question and illuminate American art, politics, technology, and life as it was being lived. Nemerov's inspiration is Wallace Stevens and his poem "Anecdote of the Jar,"in which a single object organizes the wilderness around it. For Nemerov, that evening's performance of Macbeth reached across the tragedy of civil war to acknowledge the horrors and emptiness of a world it tried and ultimately failed to change. --Book Jacket

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this autobiographical novel, the author moves among the dead poets of Stalin's Russia with the poet Marina Tsvetaeva, mingling with the ghosts of writers such as Anna Akhmatova, Boris Pasternak, Osip Mandelstam and Joseph Brodsky. The author, herself of Russian descent, reconstructs the lives and fates of Russian, often Jewish, writers during the long age of Soviet terror, re-establishing them at the heart of the European tradition.

An extraordinary history of love, from the ancient Sumerians to Freud Of all human emotions, love is perhaps the most mysterious, and the most decisive in shaping our destiny. Without it we are unfulfilled. But is it one emotion, or a compound of many? The Anatomy of Loving captures the color and vitality of human experience and thought on the subject of love, beginning with the seduction poetry of ancient Sumer, and moving to the findings of twentieth-century psychoanalysis. In this brilliant, humanistic exploration, psychoanalyst and scholar Martin Bergmann examines the thinking of figures throughout history who have influenced our notions of love to the present day: Plato and Dante, Shakespeare and Goethe, Chekhov and Stendhal, Madame Bovary and Eliza Doolittle. Medieval courtly love and nineteenth-century romantic love, homosexual and bisexual love—all are examined by Dr. Bergmann as they have been manifested in art and literature. And, though proponents of psychoanalysis have yet to agree on a single definition of love, Bergmann traces the fine differences made in that discipline between sexuality, narcissism, love and infatuation, sublimated love, and religious love. Above all, Bergmann eloquently delineates how the idea of love serves as a unique crystallization of the longings that suffuse the human heart. “A learned appreciation . . . The perspectives afforded the reader are at once specialized and rich.”— Partisan Review

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

Monarchy and Matrimony is the first comprehensive study of Elizabeth I's courtships. Susan Doran argues that the cult of the `Virgin Queen' was invented by her ministers, and that Elizabeth was forced into celibacy by political necessity. Doran's detailed examination of the different suits is based on extensive archival research across Europe. Rather than focusing on Elizabeth's personality and image, she views the question within a wider political and religious context. She shows how the question of Elizabeth's marriage was divisive for England, affecting both political life and international relations, and provoking popular propaganda in the form of plays, poetry and paintings.

First published in 1990, The Myths We Live By explores how memory and tradition are continually reshaped and recycled to make sense of the past from the standpoint of the present. The book makes use of the rich material of recorded life stories, with examples stretching from the transient myths of contemporary Italian school children on strike, back to the family legends of classical Greece, and the traditional storytelling of Canadian Indians. The range of examples is international and together they advocate a transformed history, which actively relates subjective and objective, past and present, politics and poetry, and highlights history as a living force in the present. The Myths We Live By will appeal to anyone interested in oral history, memory, and myth.

What happens when bad criticism happens to good people? Annoying the Victorians sets the tradition of critical discourse and literary criticism on its ear, as well as a few other areas. James Kincaid brings his witty, erudite and thoroughly cynical self to the Victorians, and they will never read (or be read) quite the same. In a series of essays covering the "hit parade" of the Victorians--Tennyson, Dickens, Meredith, Hardy and the erotic poetry of The Pearl --Kincaid creates a sharp, insicive parody of the methods of good criticism (and sometimes the practicioners,) all the while raising questions about what "good criticism" is, and how these rules serve to maintain the status quo. Annoying the Victorians mocks those conventions held dear, and examines the sacredness of "the text," the employment of evidence, the construction of sound arguments, and the solemn tone in which the discipline is practiced, showing them all for smoke and mirrors, exposing the Wizard behind the curtain of critical practice. Throughout, James Kincaid amuses, prods, provokes and enlightens the reader with a machete-like directness couched in satire. The essays will surely annoy both Victorians and Victorianists alike, as well as those worshipping at the church of Literary Criticism.

Erich Mühsam (187S-1934), poet, bohemian, revolutionary, remains one of Germany's most renowned and influential anarchists. Born into a middle-class Jewish family, he challenged the conventions of bourgeois society at the turn of the century, engaged in heated debates on the rights of women and homosexuals, and traveled Europe in search of radical communes and artist colonies. He was a primary instigator of the ill-fated Bavarian Council Republic in 1919, and held the libertarian banner high during a Weimar Republic that came under increasing threat by right-wing forces. In 1933, four weeks after HitlerÆs ascension to power, Mühsam was arrested in his Berlin home. He spent the last sixteen months of his life in detention and died in the Oranienburg Concentration Camp in July 1934. Mühsam wrote poetry, plays, essays, articles, and diaries. His work unites a burning desire for individual liberation with anarcho-communist convictions, and bohemian strains with syndicalist tendencies. The body of his writings is immense, yet hardly any English translations have existed. This collection presents not only Liberating Society from the State: What is Communist Anarchism? MühsamÆs main political pamphlet and one of the key texts in the history of German anarchism, but also letters, unbending defenses of political prisoners, passionate calls for solidarity with the lumpenproletariat, recollections of the utopian community of Monte Verita, debates on the rights of homosexuals and women, excerpts from his journals, and essays contemplating German politics and anarchist theory as well as Jewish identity and the role of intellectuals in the class struggle. An appendix documents the fate of Zenzl Mühsam, who, after her husband's death, escaped to the Soviet Union where she spent twenty years in Gulag camps. Book jacket.

Kenneth Goldsmith's Theory offers an unprecedented reading of the contemporary world: 500 texts – from poems and musings to short stories – printed on 500 pages assembled in the form of a ream of paper. Curated by the author-poet, this unique collection maps out the various issues and trends in contemporary literature in a world currently being shaken up by everything online and digital,and calls for the reinvention of creative forms.

"[Shukman] explores a little-known piece of Jewish history, in a sequence of poems that forms the centrepiece of this book. In 1917 several thousand Jewish tailors were deported from London and shipped back to Archangel and the Russian Empire they had recently fled, ostensibly to fight on the Eastern Front. They arrived just as the Revolution was unfolding and the old regime was collapsing into chaos. Among them were Shukman's grandfather and great-uncle, and these poems chronicle their four-year struggle to return to their wives and children in London. ..."--Book flap.

This volume examines the flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Futurism was an artistic and social movement that was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature. This work looks at the prose, visual art, poetry, and the manifestos of Futurists from Russia to Italy. The author reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present

"Rimonim is a richly woven tapestry of poetry meant for use. From a time of rupture and uncertainty, beloved movement poet Aurora Levins Morales brings us a prayer book for the street, for reconstituting the future through our gestures in the present. In these poems of devotion and protest, Levins Morales speaks across and through time with an undeniably prophetic voice. Written in collaboration with various communities looking to honor, unravel, and rebuild Jewish liturgies, Rimonim is a book of lyric in the most immediate sense--of poems that are meant to be read and sung. Rooted in tradition and flowering in the tumultuous present, these poems will both accompany specific Jewish practices and offer inspiration for the sacred work of human liberation, where joy meets justice."--Page 4 of cover.

The Pulitzer Prize-winning poet writes about her life, the creative process, and the work of other poets.

In 1967 the world of Milton studies was divided into two armed camps: one proclaiming (in the tradition of Blake and Shelley) that Milton was of the devil's party with or without knowing it, the other proclaiming (in the tradition of Addison and C. S. Lewis) that the poet's sympathies are obviously with God and the angels loyal to him. The achievement of Stanley Fish's Surprised by Sin was to reconcile the two camps by subsuming their claims in a single overarching thesis: Paradise Lost is a poem about how its readers came to be the way they are--that is, fallen--and the poem's lesson is proven on a reader's impulse every time he or she finds a devilish action attractive or a godly action dismaying. Fish's argument reshaped the face of Milton studies; thirty years later the issues raised in Surprised by Sin continue to set the agenda and drive debate.