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This work analyzes the New Ethnicity of the 1970s as a way of understanding Americas political turn to the right in that decade. An upsurge of vocal ethnic consciousness among second-, third-, and fourth-generation Southern and Eastern Europeans, the New Ethnicity simultaneously challenged and emulated earlier identity movements such as Black Power.The movement was more complex than the historical memory of racist, reactionary white ethnic leaders suggests. The movement began with a significant grassroots effort to gain more social welfare assistance for near poor white ethnic neighborhoods and ease tensions between the working-class African Americans and whites who lived in close proximity to one another in urban neighborhoods. At the same time, a more militant strain of white ethnicity was created by urban leaders who sought conflict with minorities and liberals.The reassertion of ethnicity necessarily involved the invention of myths, symbols, and traditions, and this process actually served to retard the progressive strain of New Ethnicity and strengthen the position of reactionary leaders and New Right politicians who hoped to encourage racial discord and dismantle social welfare programs. Public intellectuals created a mythical white ethnic who shunned welfare, valued the family, and provided an antidote to liberal elitism and neighborhood breakdown. Corporations and publishers embraced this invented ethnic identity and codified it through consumption. Finally, politicians appropriated the rhetoric of the New Ethnicity while ignoring its demands. The image of hard-working, self-sufficient ethnics who took care of their own neighborhood problems became powerful currency in their effort to create racial division and dismantle New Deal and Great Society protections.

Habermas's Public Sphere: A Critique systematically analyzes the strengths and weaknesses of Habermas's classic public sphere concept to reinvigorate it for evaluating the liberal promises and realities of modern societies.

This book analyzes the process of cultural production and consumption in late-eighteenth- and nineteenth-century Italy and the ways in which authors, composers, publishers, performers, journalists, and editors engage with the anxieties and aspirations of their diverse audiences.

This book explores the many different ways that we can understand the concept of "literary influence," considering both the pressures exerted upon a work at the time of its creation as well as the pressures that continue to be exerted upon it and that it in turn exerts upon other works in the course of its literary or performance history.

The book is a work of non-fiction. The book is a historical analysis of the evolution of a uniquely American constitutionalism that began with the original English royal charters for the exploration and exploitation of North America. When the U.S. Constitution was written in 1787, the accepted conception of a constitution was that of the British constitution, upon which the colonists had relied in asserting their rights with respect to the imperium, comprised of ancient documents, parliamentary enactments, administrative regulations, judicial pronouncements, and established custom. Of equal significance, the laws comprising the constitution did not differ from other statutes and as a consequence, there was no law endowed with greater sanctity than other legislative enactments.In framing the revolutionary state constitutions following the retreat of the crown governments in the colonies, as well as the later federal Constitution, the Revolutionaries fundamentally reconceived a constitution as being the single authoritative source of fundamental law that was superior to all other statutes, regulations, and judicial decisions, that was ratified by the states and that was subject to revision only through a formal amendment process. This new constitutional conception has been hailed as the great innovation of the revolutionary period, and deservedly so.This American constitutionalism had its origins in the now largely overlooked royal charters for the exploration of North America beginning with the charter granted to Sir Humphrey Gilbert by Elizabeth I in 1578. The book follows the development of this constitutional tradition from the early charters of the Virginia Companies and the covenants entered of the New England colonies, through the proprietary charters of the Middle Atlantic colonies. On the basis of those foundational documents, the colonists fashioned governments that came to be comprised not only of an executive, but an elected legislature and a judiciary. In those foundational documents and in the acts of the colonial legislatures, the settlers sought to harmonize their aspirations for just institutions and individual rights with the exigencies and imperatives of an alien and often hostile environment. When the colonies faced the withdrawal of the crown governments in 1775, they drew on their experience, which they formalized in written constitutions. This uniquely American constitutional tradition of the charters, covenants and state constitutions was the foundation of the federal Constitution and of the process by which the Constitution was written and ratified a decade later.

This is a definitive study of films that have been built around the themes of love, death, and the afterlifefilms about lovers who meet again (and love again) in heaven, via reincarnation, or through other kinds of after-death encounters. Far more than books about mere ghosts in the movies or religion in movies, Love in the Afterlife presents a complex but highly distinctive and unique patternthe love-death-afterlife patternas it was handed down by the ancient Egyptians and Greeks (in the Isis and Orpheus myths, for example), developed by Freud and his followers in the duality of ';Eros and Thanatos,' and then featured in popular movies from the 1920s to the recent past. Among its other qualities, Love in the Afterlife may encourage readers to look at movies differently and reflect upon the possibility that other patterns in cinema may have gone undetected for years. Furthermore, this book will show how the love-death-afterlife theme found its way into all sorts of different film types: melodramas, comedies, war films, horror films, film noir, and other genres. The book will be well illustrated and quotations from film reviews will enliven its pages. A long appendix gives production data on almost sixty individual films.

Beginning with controversies related to British and French attacks on U.S. neutral trade in 1805, this book looks at crucial developments in national politics, public policy, and foreign relations from the perspective of New England Federalists. Through its focus on the partisan climate in Congress that appeared to influence federal statutes, New England Federalists: Widening the Sectional Divide in Jeffersonian America sets out to explain, in their own words, why Federalists, especially those often deemed extreme or radical by contemporaries and historians alike, escalated a campaign to repeal the Constitution's three-fifths clause (which included slaves in the calculation for congressional representation and votes in the Electoral College) while encouraging violations of federal law and advocating northern secession from the Union. Unlike traditional interpretations of early nineteenth-century politics that focus on Jeffersonian political economy, this study brings the impetus for Federalist obstructionism and sectionalism into sharp relief. Federalists who became the sole defenders of New England's economic independence and free labor force, later issued calls for northerners to unite against the spread of slavery and southern control of the central government. Along with controversies that placed sectional harmony in jeopardy, this work links themes in Federalist opposition rhetoric to the important antislavery arguments that would flourish in antebellum culture and politics.

Place, Setting, Perspective examines the films of the Italian filmmaker, Nanni Moretti, from a fresh viewpoint, employing the increasingly significant research area of space within a filmic text. The book is conceived with the awareness that space cannot be studied only in aesthetic or narrative terms: social, political, and cultural aspects of narrated spaces are equally important if a thorough appraisal is to be achieved of an oeuvre such as Moretti's, which is profoundly associated with socio-political commentary and analysis. After an exploration of various existing frameworks of narrative space in film, the book offers a particular definition of the term based on the notions of Place, Setting, and Perspective. Place relates to the physical aspect of narrative space and specifically involves cityscapes, landscapes, interiors, and exteriors in the real world. Setting concerns genre characteristics of narrative space, notably its differentiated use in melodrama, detective stories, fantasy narratives, and gender based scenarios. Perspective encompasses the point of view taken optically by the camera which supports the standpoint of Moretti's personal philosophy expressed through the aesthetic aspects which he employs to create narrative space. The study is based on a close textual analysis of Moretti's eleven major feature films to date, using the formal film language of mise-en-scene, cinematography, editing, and sound. The aim is to show how Moretti selects, organizes, constructs, assembles, and manipulates the many elements of narrative space into an entire work of art, to enable meanings and pleasures for the spectator.

This book offers an important new look into how philosophy and the visual imagination intersect in the modernist work of Luigi Pirandello. Collecting essays from leading scholars across the world, it highlights the incredible scope and multimedia dimension of Pirandello's work and legacy.

This book represents the first scholarly gathering together of the long-neglected poetry of the School Inspector, educationalist and philosopher Edmond Holmes (1850 1936). Alongside a generous selection from Holmes's six volumes of poetry there is also a full reproduction of Holmes's essay What is Poetry which served to delineate his thinking on the discipline. Supporting these original works is both a lengthy scholarly introduction and extensive endnotes which serve to locate Holmes's poetry not merely within the context of its time and amongst his own contemporaries but also to make a case for the importance of this body of work in its own right particularly in its promulgation of original and innovative ideas. Holmes's poetry represents a particularly unique combination of traditional verse form coupled with innovative and esoteric subject matter (often drawing upon Eastern Buddhist philosophy as well as Western Romanticism and Pantheism) and so deserves to be more widely recognized as being wholly distinctive within the canon of Victorian and Modern poetry.

This volume of essays and speeches by noted international higher education leaders from the 50th Annual Meeting of IAUP, and explores the critical role of higher education both as an active part of global civil society and as a foundation for the realization of a just, peaceful, and prosperous global future.

This book investigates narrative, autobiography, and poetry by Italian women writers from the nineteenth century to today and considers the topics of boundaries and borders in their writings.

Beyond its elucidation and critique of traditional ';notation-centric' musicology, this books primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters' final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983), along with Waters' third solo album Amused to Death (1993). This books analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners' interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, whichto paraphrase the music journalist Karl Dallasis to affirm human values against everything in life that should conspire against them.

This book presents the first complete English translation of En las orillas del Sar, the final volume of poetry by Spanish nineteenth-century writer Rosalia de Castro. Using a framework grounded in socio-historical contextualization and feminist translation theory, this book analyzes poems' themes.

Gender and cultural studies readings of Tennessee Williams's work have provided diverse perspectives on his complex representations of sexuality, whether of himself as an openly gay man, or of his characters, many of whom narrate or dramatize sexual attitudes or behavior that cross heteronormative boundaries of the mid-century period. Several of these studies have positioned Williams and his work amid the public tensions in American life over roughly four decades, from 19401980, as notions of equality and freedom of choice challenged prejudice and repression in law and in society. To date, however, neither Williams's homosexuality nor his persistent representations of sexual transgressions have been examined as legal matters that challenged the rule of law.Directed by legal history and informed by multiple strands of Williams's studies criticism, textual, and cultural, this book explores the interplay of select topics defined and debated in law's texts with those same topics in Williams's personal and imaginative texts. By tracing the obscure and the transparent representations of homosexuality, specifically, and diverse sexualities more generally, through selected stories and plays, the book charts the intersections between Williams's literature and the laws that governed the period. His imaginative works, backlit by his personal documents and historical and legal records from the period, underscore his preoccupation with depictions of diverse sexualities throughout his career. His use of legal language and its varied effects on his texts demonstrate his work's multiple and complex intersection with major twentieth-century concerns, including significant legal and cultural dialogues about identity formation, intimacy, privacy, and difference.

Women and Comedy: History, Theory, Practice brings together leading researchers from Canada, the United States, and Europe in an interdisciplinary collection of essays to chart the future of critical inquiry in gender and comedy studies.

This volume extends the reach of the American Shakespeare Center, which provides the finest in Shakespearean and Elizabethan dramatic performance and scholarship. These 28 essays, originally presented on the Blackfriars stage, bring together scholars and practitioners, often promoting ideas that can be translated into classroom experiences.

The history of Western philosophy and science is marked by numerous moments when a major development has emerged from conditions that are manifestly adverse to intellectual activity. This book surveys a wide range of cases, and considers how these achievements were possible and how adversity helped shape the ideas that emerged.

Double Shakespeares examines contemporary performances of Shakespeare plays that employ the ';emotional realist' traditions of acting that were codified by Stanislavski over a century ago. These performances recognize the inescapable doubleness of realism: that the actor may aspire to be the character but can never fully do so. This doubleness troubled the late-nineteenth-century actors and theorists who first formulated realist modes of acting; and it equally troubles theorists and theatre practitioners today. The book first looks at contemporary performances that foreground the doubleness of the actor's body, particularly through cross-dressing. It then examines narratives of Shakespearean rehearsalboth fictional representations of rehearsal in film and video, and eye-witness narratives of actual rehearsalsand how they show us the process by which the actor does or does not ';become' the character. And, finally, it looks at modern performances that ';frame' Shakespeare's play as a play-within-a-play, showing the audience both the character in the Shakespeare play-within and the actor in the frame-play acting that character.

Race and Hegemonic Struggle in the United States: Pop Culture, Politics, and Protest is a collection of essays that draws on concepts developed by Antonio Gramsci to examine the imagining of race in popular culture productions, political discourses, and resistance rhetoric.

Marriage and Land Law in Shakespeare and Middleton examines the dynamics of early modern marriage-making, a time-honored practice that was evolving, often surreptitiously, from patriarchal control based on money and inheritance, to a companionate union in which love and the couple's own agency played a role. Among early modern playwrights, the marriage plays of Shakespeare and Middleton are particularly, though not uniquely, concerned with this evolution, observing the movement towards spousal choice determined by the couple themselves. Through the late Elizabethan and early Jacobean period, the role of the patriarch, though often compromised, remained intact: the father or guardian negotiated the financial terms. And, in a culture that was still tied to feudal practices, land law held a primary place in the bargain. This book, while following the arc of changing marriage practices, focuses on the ways in which the oldest determination of status, land, affects marital decisions. Land is not a constant topic of conversation in the twenty-one theatrical marriages scrutinized here, but it is a persistent and omnipresent truth of family and economic life. In paired discussions of marriage plays by Shakespeare and MiddletonThe Taming of the Shrew/A Chaste Maid in Cheapside, All's Well That Ends Well/A Trick To Catch the Old One, Measure for Measure/A Mad World, My Masters, The Merchant of Venice/The Roaring Girl, and Much Ado About Nothing/No Wit, No Help Like A Woman'sthis book explores the attempts, maneuvers, intrigues, ruses, and schemes that marriageable characters deploy in order to control spousal choice and secure land. Special attention is given to patriarchal figures whose poor judgment exploits inheritance law weaknesses and to the lack of legal protection and hence the vulnerability of womenand menwho engage the system in unconventional ways. Investigation into the milieu of early modern patriarchal influence in marriage-making and the laws governing inheritance practices enables a fresh reading of Shakespeare's and Middleton's marriage comedies.

Italian Women at War explores Italian women's participation in war and conflict throughout Italy's modern history, beginning with the Unification and ending with the twentieth century. The essays in this volume, help to further the discussion on women's participation in violence, warfare, and political protest throughout Italy.

Close Reading Without Readings is a collection of essays by the renowned Shakespeare scholar Stephen Booth in which the author directs readers to the experience of reading, bringing to bear the full power of his scholarship, critical acumen, and imagination to the study of how literature works.

Creating Albert Camus: Foundations & Explorations in his Philosophy of Communication contributes to the study of the philosophy of communication by solidifying the place of Albert Camus within human communication studies. The major claim within Creating Albert Camus is that Camus serves as a philosopher of communication for the twenty-first century and can contribute to the growing conversation about the philosophy of communication in our contemporary age.

Dacia Maraini's Narratives of Survival: (Re)Constructed focuses on Dacia Maraini's narrative from about 1984 to 2004 and makes substantive use of her interviews and essays. While acknowledging the importance and ongoing validity of feminist scholarship of Maraini's work, this book seeks to take scholarship on Maraini beyond feminist readings by identifying a critical framework that cuts across gender and genre and thereby invites alternative readings. Using a method of close textual analysis, the author includes studies of men, children, animals, and imaginary characters in Maraini's narrative, analyzes language, character, motifs, and symbols, and considers some of Maraini's work in light of declining postmodern and emerging posthuman critical social theory. This critical framework identifies the paradigm of reconstruction as narrative center, both strategy and theme, of many of Maraini's works from this twenty-year-period and beyond. Reconstruction here signifies the strategies by which Maraini's deep investment in survival, which has its roots in the life threatening conditions she experienced as a small child in a WWII Japanese concentration camp, is enacted in a narrative re-building and re-constructing of personal memory, of various personal, social and political histories, of motherhood and maternal discourses, of crime stories, of postmodern fragmentation, and even of the process of erasure itself. Maraini's narrative is deeply attentive to the mechanisms that threaten survival of the body (and not just the woman's body); psychological and aesthetic survival; the survival in the Italian canon of a woman author's work, memory and legacy after her death; the survival of a drug-addicted and self-destructive younger generation; and by extension, collective and ecological survival. Never marked by nihilism or despair, Maraini's narratives offer the ethos of reconstruction as a variation on the ';begin again' that marks the end of many of her novels and, as we can see in Colomba, her own aesthetic process of renewal and regeneration. This book focuses primarily on Il treno per Helsinki (1984), Isolina (1985), some of her short stories for children, La nave per Kobe: Diari giapponesi di mia madre (2001), Buio (Strega Literary Prize, 1999), and Colomba (2004).

Just Remembering: Rhetorics of Genocide Remembranceand Sociopolitical Judgment analyzes a set of influential discourses of genocide remembrance to explain how public memory discourses inform sociopolitical judgment. Within this explanatory context, Just Remembering additionally asks how we might remember pasts marked by genocidal violence in ways that commit ourselves to a deeper understanding and more humane practice of justice. The chapters are thematically organized, focusing on specific sites of memory to highlight symbolic inducements of memorial discourses. Chapter 2 analyzes U.S. public discourse concerning an ';Armenian Genocide' resolution to elucidate the role of politics in the production, dissemination, and maintenance of memory. Chapter 3 offers a historical account of the shift in public discourse concerning the capture of the Nazi war criminal Adolf Eichmann, demonstrating how and with what consequences the discourses shifted from a focus on law to a focus on morality. Chapter 4 expands this work by analyzing how competing narrative accounts of historical figures and events (Eichmann and the Holocaust) influence what we remember, how we remember, and the ends to which we apply such memories. Chapter 5 analyzes the Report of the President's Commission on the Holocaust that produced the United States' official remembrance of the Holocaust. This chapter argues that the Commission Report provides an exemplary explanation for why we should remember and provokes a complex understanding of what we are to remember. Chapter 6 concludes the book by focusing on the productive capacity of the humanitarian aims of U.S. Holocaust remembrance.

This international collection of essays gives fresh insight into the lives and perspectives of the modernist authors who lived and wrote in the shadow of war. These essays offer a link through wartime experience, as the fragmented, violent, and traumatic period demanded unique forms of expression.

This book reviews a thousand years of Jewish history in North Africa under Islam, culled from literary sources such as Islamic legal and theological texts, European travel accounts, and diplomatic dispatches, as well as unpublished archival material.

This is the first edited volume in English on the Sicilian author Goliarda Sapienza, contextualizing her work within Italian and European literature. The essays in this volume examine Sapienza through multiple perspectives, taking into account the articulation of subjectivity through autobiographical writing and the complex representation of gender and sexual identities.

This book is divided into three sections. The first section deals with the general situation of Italian/American literature and its reception both in the United States and in Italy. It also discusses other social and cultural issues that pertain to Italian Americana. Section two consists of six chapters, each discussing a specific author; three dedicated to prose (Pietro di Donato, Mario Puzo, Luigi Barzini), three dedicated to poetry (Joseph Tusiani, Maria Mazziotti Gillan, Rina Ferrarelli). Section three examines the current state of criticism dedicated to Italian/American literature, the second part focusing in on a number of specific works.