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Miguel de Cervantes's experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes's prose and analyses the ways in which he uses theatricality in his own literary production.Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook's notion of the bare or empty stage, Esther Fernndez and Adrienne L. Martn argue that Cervantes's omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.

Municipalities in Canada have an array of servicing options available to them when producing or delivering local services, such as water, public transit, and waste collection, including in-house provision or privatization. However, services may also be contracted or jointly-delivered with neighbouring municipalities - a practice some local governments are increasingly gravitating towards.Delivery by Design sheds light on this practice in Canadian local government by examining three crucial questions: Why do municipalities cooperate? What is being shared or contracted with other governments? And what leads to successful or unsuccessful relationships between municipalities? The book finds that Canadian municipalities are cooperating fairly regularly, but are doing so in a small number of policy areas, mainly emergency and administrative services. Zachary Spicer examines these types of relationships, explaining how they will be crucial in the future as local services are increasingly shared or jointly delivered by municipal governments.Relying on extensive data and document collection, surveys, and a series of primary interviews with local decision-makers, Delivery by Design explores the nature of interlocal collaboration in Canada, mapping out a relatively understudied process in local governance.

This directory is an indispensable resource book for the insurance industry, published yearly to facilitate the forwarding of insurance claims throughout Canada and the United States. Its subscribers are adjusters, firms specializing in counsel to the insurance industry, insurance companies, and industrial and government offices.Listed are more than 450 independent adjusting offices, insurance counsel, restoration services, and others involved in insurance-related industries. The arrangement of listings is national, geographical, and alphabetical: adjusters and counsel are listed by city, within province or state, and country. The editorial section includes a list of associations of insurance adjusters for Ontario, Quebec, Canada, and the United States, as well as Provincial Superintendents of Insurance, the Fire Marshals of Canada, and a comprehensive listing of Canadian insurance companies. These listings are interspersed with informative advertisements from all fields of the insurance industry. Also included are indexes to adjusters, insurance counsel, insurance-related industries, and advertisers.

This book draws on an extensive archive of over one hundred oral narratives collected and recorded with Iraqi women in three sites: Amman, Detroit, and Toronto. Nadia Jones-Gailani demonstrates how the relationships between ethno-religious migrants, nation, and citizenship are shaped by the traumatic experiences of forced displacement and integration into new communities and national imaginaries. This book also examines the broader historical trends that have precipitated migration from Iraq. While informed by research into the archival documentary record on Iraqis in North America, this book is first and foremost a study of gender and memory that focuses on women's oral histories. By historicizing the process through which ethno-religious and ethno-national communities become fractured and remade, Jones-Gailani explores the expectations and realities of women as the supposed biological and cultural reproducers of the nation. The Iraqi women featured in this book assert their claims to belonging across three different generations, thereby opening up spaces to discuss how sites of migration shape the ability of migrants to lobby for "e;the homeland,"e; even as they engage in daily struggles to advance their education and economic stability abroad.

Originally published in 1950, Harold A. Innis's Empire and Communications is considered to be one of the classic works in media studies, yet its origins have received little attention. Ambitious in its scope, the book spans five millennia, tracing a path of development around the globe from 2900 BCE to the twentieth century and revealing the cyclical interplay between communications and power structures across space and time.In this new edition, William J. Buxton pays close attention to handwritten glosses that Innis added to a copy of the original edition and the revisions undertaken by his widow, Mary Q. Innis. A new introduction provides a detailed account of how the book emerged from lectures that Innis delivered at Oxford University in 1948, as well as how it related to other presentations Innis made in Britain during the same period. It explores how Innis sought to enrich his analysis by incorporating material related to phenomena such as war, education, religion, culture, geography, and finance. An insightful foreword by Marshall McLuhan is included, as well as bibliographical references and a revised index.By providing a narrative based on extensive notes from Innis, this edition makes Empire and Communications more accessible and contributes to the broad efforts to shape Innis's legacy.

Local government plays a critical role in the lives of all citizens, from remote towns to capital cities. As the political legitimacy and importance of municipalities grow, however, it becomes increasingly difficult to strike a balance between local and higher levels of government. The contributors to Local Government in a Global World provide insights into key themes impacting local governance in two federations with much in common historically, culturally, and politically: Australia and Canada.These essays examine changes in the Australian and Canadian systems through four thematic lenses: citizen participation in government systems, the restructuring and reform of local governments, the use of performance measures and management systems in the administration of local governments, and the relations of local governments within higher levels of governments. Unique in its thematic selection and in its compare-and-contrast structure, Local Government in a Global World provides a valuable reference for those seeking to understand how effective local government is structured and managed.

Giulia Bigolina's (ca. 1516-ca. 1569) Urania (ca. 1552) is the oldest known prose romance to have been written by an Italian woman. In Kissing the Wild Woman, Christopher Nissen explores the unique aesthetic vision and innovative narrative features of Bigolina's greatest surviving work, in which she fashioned a new type of narrative that combined elements of the romance and the novella and included a polemical treatise on the moral implications of portraiture and the role of women in the arts. Demonstrating that Bigolina challenged cultural authority by rejecting the prevailing views of both painting and literature, Nissen discusses Bigolina's suggestion that painting constituted an ineffectual, even immoral mode of self-promotion for women in relation to the views of the contemporary writer Pietro Aretino and the painter Titian. Kissing the Wild Woman's analysis of this little-known work adds a new dimension to the study of Renaissance aesthetics in relation to art history, Renaissance thought, women's studies, and Italian literature.

At several junctures in his career, Dante paused to consider what it meant to be a writer. The questions he posed were both simple and wide-ranging: How does language, in particular 'poetic language,' work? Can poetry be translated? What is the relationship between a text and its commentary? Who controls the meaning of a literary work? In Dante and Augustine, Simone Marchesi re-examines these questions in light of the influence that Augustine's reflections on similar issues exerted on Dante's sense of his task as a poet.Examining Dante's life-long dialogue with Augustine from a new point of view, Marchesi goes beyond traditional inquiries to engage more technical questions relating to Dante's evolving ideas on how language, poetry, and interpretation should work. In this engaging literary analysis, Dante emerges as a versatile thinker, committed to a radical defence of poetry and yet always ready to rethink, revise, and rewrite his own positions on matters of linguistics, poetics, and hermeneutics.

International law is a fundamentally modern phenomenon. Tracing its roots to nineteenth-century pronouncements on the 'law of nations,' the discipline took shape in the elaborate treaty structures of the post-First World War era and in the institutions and tribunals established after the Second World War. International law as scholars know and study it today is a product of modernism.In The Aesthetics of International Law, Ed Morgan engages in a literary parsing of international legal texts. In order to demonstrate how these types of legal narratives are imbued with modernist aesthetics, Morgan juxtaposes international legal documents and modern (as well as some immediately pre- and post-modern) literary texts. He demonstrates how the same intellectual currents that flow through the works of authors ranging from Edgar Allan Poe to James Joyce to Vladimir Nabokov are also present in legal doctrines ranging from the law of war to international commercial disputes to human rights.By providing a comparative, interdisciplinary account of this modern phenomenon, Morgan's work highlights the ways judges, lawyers, and state representatives artfully exploit the narratives of international law. It demonstrates that just as modernist literature developed complex narrative techniques as a way of dealing with the human condition, modern international law has developed parallel argumentative techniques as a way of dealing with international political conditions.

From two world wars to rapid industrialization and population shifts, events of the twentieth century engendered cultural anxieties to an extent hitherto unseen, particularly in Europe. In Telling Anxiety, Jennifer Willging examines manifestations of such anxieties in the selected narratives of four women writing in French – Marguerite Duras, Nathalie Sarraute, Annie Ernaux, and Anne Hebert. Willging demonstrates that the anxieties inherent in these women's works (whether attributed to characters, narrators, or implied authors) are multiple in nature and relate to a general post-Second World War scepticism about the power of language to express non-linguistic phenomena such as the destruction and loss of life that a large portion of Europe endured during that period. Willging maintains that while these women writers are profoundly wary of language and its artificiality, they eschew the radical linguistic scepticism of many post-war male writers and theorists. Rather, she argues, the anxiety that these four writers express stems less from a loss of faith in language's referential function than from a culturally ingrained doubt about their own ability as women to make language reflect certain realities. Ultimately, Telling Anxiety shows the crippling obstacles of literary agency for women in the twentieth century from the perspective of those who fully understood the significant responsibility of their work.

Kant considered it to be scandalous that philosophy still had not found a rational proof of the existence of the external world during his time. Arguably, the scandal continues today because scepticism remains a widely debated and extremely divisive issue among contemporary thinkers. Although scholars have devoted considerable attention to Kant's arguments against Cartesian scepticism, the literature still presents gaps and inaccuracies that obscure a full understanding of this issue and its significance for contemporary philosophy. In Kant and the Scandal of Philosophy, Luigi Caranti corrects this omission, providing a thorough historical analysis of Kant's anti-sceptical arguments from the pre-critical period up to the 'Reflexionen zum Idealismus' (1788-93).Caranti demonstrates how reconstructing Kant's critique of scepticism is crucial for understanding the origin of his philosophy and for avoiding serious mistakes that still serve as obstacles to the proper understanding of the Critique of Pure Reason. In particular, Caranti shows how the sceptical challenge leads Kant to the critical stage of his thought. Moreover, this study responds to recent criticism of transcendental idealism, showing how it can serve as the main premise of a powerful anti-sceptical argument whose main structure is suggested by Kant in the 1781 Fourth Paralogism. Erudite and engaging, Kant and the Scandal of Philosophy fills an important void in the literature and breathes new life into this field of inquiry.

In the early modern period, the theatrical stage offered one of the most popular forms of entertainment and aesthetic pleasure. It also fulfilled an important cultural function by displaying modes of behaviour and dramatizing social interaction within a community. Flaunting argues that the theatre in late sixteenth-century England created the conditions for a subculture of style whose members came to distinguish themselves by their sartorial extravagance and social impudence.Drawing on evidence from legal documents, economic treatises, domestic manuals, accounts of playhouse practices, and stage plays, Amanda Bailey critiques standard accounts maintaining that those who flaunted their apparel were simply aspirants, or gaudy versions of the superiors they sought to emulate. Instead, she suggests that what mattered most was not what these young men wore but how they wore their clothes. These young men shared a distinctive sartorial sensibility and used that sensibility to undermine authority at all levels of society. Flaunting therefore, examines male style as a visual form of subversion against the norms of Renaissance England with the stage as the primary source of inspiration for collective identification.A glimpse into both the celebration of and opposition to social irreverence in the early modern period, Flaunting is a fascinating historical account of drama, fashion, and rebellion with surprisingly close parallels to the contemporary world.

Benedetto Croce (1866-1952) was among the most important of those philosophers of the twentieth century who grappled with issues of pure aesthetics. The series of lectures written in 1912 as the inaugural address of the Rice Institute in Texas and collected under the title Breviario di estetica (Breviary of Aesthetics) is undoubtedly Croce's definitive study of the arts, and the work remains foundational in the philosophy of aesthetics to this day. It has been translated into several languages and continues to attract a wide readership.In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text. The new translation deliberately preserves the idiosyncratic use of language for which Croce was famous, and emphasizes his writing style, which, together with that of Galileo Galilei, is considered to be among the most lucid in Italian literature. An introduction by Remo Bodei discusses the broader impact of the work and places it in historical context. In short, this edition reintroduces a seminal text on aesthetics to a new generation of English-speaking readers, and represents a significant contribution to the Lorenzo Da Ponte Italian Library series.

Anxieties about embodiment and posthumanism have always found an outlet in the science fiction of the day. In Bodies of Tomorrow, Sherryl Vint argues for a new model of an ethical and embodied posthuman subject through close readings of the works of Gwyneth Jones, Octavia Butler, Iain M. Banks, William Gibson, and other science fiction authors. Vint's discussion is firmly contextualized by discussions of contemporary technoscience, specifically genetics and information technology, and the implications of this technology for the way we consider human subjectivity. Engaging with theorists such as Michel Foucault, Judith Butler, Anne Balsamo, N. Katherine Hayles, and Douglas Kellner,Bodies of Tomorrow argues for the importance of challenging visions of humanity in the future that overlook our responsibility as embodied beings connected to a material world. If we are to understand the post-human subject, then we must acknowledge our embodied connection to the world around us and the value of our multiple subjective responses to it. Vint's study thus encourages a move from the common liberal humanist approach to posthuman theory toward what she calls 'embodied posthumanism.' This timely work of science fiction criticism will prove fascinating to cultural theorists, philosophers, and literary scholars alike, as well as anyone concerned with the ethics of posthumanism.

Winfried Siemerling examines alterity in the work of four innovative postmodern authors, exploring self and other as textual figures of the unknown. Subjectivity appears mediated, in these texts, by a self-reflexive work in language, seeking to grasp itself in relation to a significant and often fascinating, but also enigmatic, other.

The ugly woman is a surprisingly common figure in Italian poetry, one that has been frequently appropriated by male poetic imagination to depict moral, aesthetic, social, and racial boundaries. Mostly used between the thirteenth and seventeenth centuries - from the invectives of Rustico Filippi, Franco Sacchetti, and Burchiello, to the paradoxical praises of Francesco Berni, Niccolo Campani and Pietro Aretino, and further to the conceited encomia of Giambattista Marino and Marinisti - the portrayal of female unattractiveness was, argues Patrizia Bettella in The Ugly Woman, one way of figuring woman as 'other.'Bettella shows how medieval female ugliness included transgressive types ranging from the lustful old hag, to the slanderer, the wild woman, the heretic/witch, and the prostitute, whereas Early Modern unattractiveness targeted peasants, mountain dwellers, and black slaves: marginal women whose bodies and manners subvert aesthetic precepts of culturally normative beauty and propriety. Taking a philological and feminist approach, and drawing on the Bakhtinian concept of the grotesque body and on the poetics of transgression, The Ugly Woman is a unique look at the essential counterdiscourse of the celebrated Italian poetic canon and a valuable contribution to the study of women in literature.

Most people are aware of the large and persistent gender imbalance in elected office at all levels of government in Canada, but few appreciate the far greater imbalance that occurs outside of large cities. This deficit arises not from rural voter bias, but from low numbers of female candidates running for winnable seats. The question of why there are so few female candidates has been difficult to answer, largely because we know so little about the pool of potential candidates. Rural Women's Leadership in Atlantic Canada presents results from a regional field-based study, which confronted this challenge directly for the first time. Louise Carbert gathered together small groups of rural community leaders (126 women in all) throughout the four Atlantic provinces, and interviewed them about their experiences and perceptions of leadership, public life, and running for elected office. Their answers paint a vivid picture of politics in rural communities, illustrating how it intersects with family life, work, and the overall local economy. Through discussion of their own reasoned aversion to holding elected office, and of resistance encountered by those who have put their names forward, the interviewees shed much-needed light on the pervasive barriers to the election of women. Carbert not only contextualizes the results in terms of economic and demographic structures of rural Atlantic Canada, but also considers points of comparison and contrast with other parts of the country.

This ambitious interdisciplinary study undertakes a new definition of the eighteenth-century novel's investment in vision and visual culture, tracing the relationship between the development of the novel and that of the equally contentious genre of the portrait, particularly as represented in the novel itself. Working with the novels of Richardson, Fielding, Haywood, Manley, Sterne, Wollstonecraft and Inchbald, and the portraits of Reynolds, Gainsborough, Highmore, Hudson, Hogarth, and others, Private Interests points to the intimate connections between the literary works and the paintings. Arguing that the novel's representation of the portrait sustains a tension between competing definitions of private interests, Conway shows how private interests are figured as simultaneously decorous and illicit in the novel, with the portrait at once an instrument of propriety and of scandal. Examining women's roles as both authors of and characters in the novel and the novel's encounters with the portrait, the author provides a new definition of private interests, one which highlights the development of women's agency as both spectacles and spectators.

In Playing the Hero, Ann Dooley examines the surviving manuscript versions of the greatest of the early Irish sagas, the Tain Bo Cuailnge (Cattle-Raid of Cooley), and creates a picture of the cultural conditions and literary mind-sets under which medieval scribes recreated the text. Dooley argues that the scribes' work is both a transmission and a translation, and that their own changing historical circumstances within the space of one hundred years, from the beginning to the end of the twelfth century, determines the specifics of their literary creativity.Playing the Hero is a unique example of more contemporary literary methodologies – post-structuralist, feminist, historicist and beyond – being used to illuminate the Irish saga world. Dooley provides a commentary for the saga, helping to re-animate its literary sophistication. Her work is an interrogation of both the Irish epic hero – a reading of the male through the medium of feminine discourse – and the process whereby violence as normalized in the saga genre can be recovered as problematic and troubling. Dooley's work is groundbreaking and will provoke a wide response in Medieval Irish studies.

One of the most famous and prestigious of Renaissance schools, Italy's University of Padua attracted a notable body of students from England, including such well-known alumni as Thomas Linacre, Thomas Starkey, and William Harvey. In this work Jonathan Woolfson looks at the reasons why so many Englishmen went to Padua, what they did there, and most importantly, the various ways in which their studies had an impact on Tudor life and thought.Covering a formidable range of intellectual history, Woolfson explores the complex processes of cultural transmission between Italy and England in the areas of humanism, law, political thought, medicine, and natural philosophy. An impressive feature of the book is its biographical register of English visitors to Padua, which comprises 349 separate entries drawn from extensive archival research in Italy and England. From the collective biography that results, as well as from textual studies, Woolfson argues that Padua influenced England in ways that were profound and enduring, but also extremely diverse and sometimes surprising.

This long-awaited study, lavishly illustrated, tells the remarkable story of the work of one of Canada's great artists. David Milne (1882-1953) left rural Ontario for New York City in 1903. After training at the Art Students' League, he emerged as an exceptional modernist, one of the 'American extremists,' whose work was well-represented at the famous 1913 Armory Show and won a major prize at the 1915 Panama-Pacific Exposition. Milne's studio at 42nd Street and Fifth Avenue was a regular forum for artists to debate art and aesthetics.In 1916 Milne moved to Boston Corners, in upstate New York, devoting his whole time to painting. As he wandered over the years to the deserted battlefields of France and Belgium, to the Adirondacks, then back to Canada - Temagami, Palgrave, Muskoka, Toronto, Uxbridge, and Baptiste Lake - his work continued to evolve and change. Critics and other artists hailed him as one of the most original, intelligent, and innovative of artists in Canada. His work is in the British Museum, the Museum of Modern Art, and public galleries in Canada.Silcox's biography, based on many years of research for the Milne Catalogue Raisonne, is, in the words of one of our readers, 'a near-perfect dialectic between biography and aesthetic analysis.' It will stand both as a definitive study of Milne and as a model for future biographies of Canadian artists.This gorgeous book, in a large format with 190 images in colour and 240 black and white illustrations throughout (many published for the first time), will astonish and delight all those interested in art history, and in the life of a unique individual.

The mass production and dissemination of printed materials were unparalleled in England during the 1640s and 50s. While theatrical performance traditionally defined literary culture, print steadily gained ground, becoming more prevalent and enabling the formation of various networks of writers, readers, and consumers of books.In conjunction with an evolving print culture, seventeenth-century England experienced a rise of political instability and religious dissent, the closing of the theatres, and the emergence of a middle class. Elizabeth Sauer examines how this played out in the nation's book and print industry with an emphasis on performative writings, their materiality, reception, and their extra-judicial function. 'Paper-contestations' and Textual Communities in England challenges traditional readings of literary history, offers new insights into drama and its transgression of boundaries, and proposes a fresh approach to the politics of consensus and contestation that animated seventeenth-century culture and that distinguishes current scholarly debates about this period.

Texts centred on the mother of Jesus abound in religious traditions the world over, but thirteenth-century Old French lyric stands apart, both because of the enormous size of the Marian cult in thirteenth-century France and the lack of critical attention the genre has garnered from scholars.As hybrid texts, Old French Marian songs combine motifs from several genres and registers to articulate a devotional message. In this comprehensive and illuminating study, Daniel E. O'Sullivan examines the movement between secular and religious traditions in medieval culture that Old French religious song embodies. He demonstrates that Marian lyric was far more than a simple, mindless imitation of secular love song. On the contrary, Marian lyric participated in a dynamic interplay with the secular tradition that different composers shaped and reshaped in light of particular doctrinal and aesthetic concerns. It is a corpus that reveals itself to be far more malleable and supple than past readers have admitted.With an extensive index of musical and textual editions of dozens of songs, Marian Devotion in Thirteenth-Century French Lyric brings a heretofore neglected genre to light.

In this major re-examination of Descartes's founding principle, cogito, ergo sum, Murray Miles presents a portrait of Descartes as the Father of Modern Philosophy that is very different from the standard one.Viewing Descartes in both a historical and a systematic perspective, Miles presents a wealth of original analyses, arguments, and re-interpretations of key texts. The result is a fresh and illuminating account of Descartes's metaphysical project and theory of the mind. Descartes's achievement is a radical reversal of the order of knowing, a subjectivism that places knowledge of the mind ahead of knowledge of material things, yet is free of the metaphysical idealism that some of his successors went on to embrace.A meticulous, scholarly, and exhaustive analysis, this book provides a minutely detailed reading of each word of Descartes's founding principle, exploring in great depth the underlying epistemology and ontology. The book will fully repay a careful reading by any serious student of Descartes's philosophy.

Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines `humoristic'. She delineates a `Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the `new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the `melodramatic imagination' and the `humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a `Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour.

For the ardent collector and (or anyone who once owned a doll, here is a history of the dolls that have been made and loved in Canada.Doll collecting, a popular pursuit in Europe and the United States, has been growing rapidly in Canada. Evelyn Strahlendorf has compiled a reference work that traces the development of dolls in Canada and of the industry that produces them. It contains the dates, names, and characteristics of about 1000 Canadian dolls from prehistoric times to the present.Coverage begins with Inuit and other native dolls, then turns to the dolls that have survived from the days of early European settlement and the dolls of several of the ethnic cultures which make the Canadian mosaic. Much of the book is devoted to the work of commercial dollmakers and the evolution of their dolls, including the history of each company with information about their products, progress, and achievements. The manufacturing process is examined as it developed from bisque and composition through various plastics to the dolls of today.Separate chapters deal with dolls that portray celebrities (including Barbara Ann Scott, the Dionne quintuplets, and Wayne Gretsky), dolls that are more than playthings (used in displays or advertising), the Eaton's Beauty dolls that were the most popular dolls in Canada for many years, and dolls created by artists.The dolls reflect the changing fashions and culture of Canada. Their clothing is often the latest in style and materials; their abilities not only include talking, wiggling, and drinking but in recent years extend to bilingualism.With few exceptions, every doll described has been personally examined by the author.This book is a valuable reference tool for doll collectors, museums, libraries, antique dealers, doll stores, and flea market operators. Because Canada has been exporting dolls for half a century, it will benefit collectors internationally as well.It is also intended for a special class of enthusiast Mrs. Strahlendorf calls the closet collector. There are tens of thousands of such people in North America who have dolls and may collect dolls but do not admit their pleasure to others.

Without the notes, Erasmus said, the texts of the Scripture were 'naked and defenceless,' open to criticism by uncomprehending readers and corruption by careless printers. The Annotations represent not only Erasmus' defence of the New Testament against such abuss, but also a reflection of his own philosophy, objectives, and working methods.In establishing the text and defending it against his opponents, Erasmus drew on manuscript sources, classical literature, patristic writings, scholastic exegesis, and the work of his immediate forerunners, Valla and Lefevre. He did not hesitate to point out the errors of illustrious writers like Jerome and established medieval authorities like Peter Lombard. In general he was appreciative of the early church Fathers and contemptuous of medieval commentators.As well as discussing the contents and aims of the Annotations, Erika Rummel investigates Erasmus' development from philologist to theologian and traces the prepublication history of the New Testament. She examines the critical reaction of conservative theologians to Erasmus' work and his replies, incorporated in later editions of the Annotations. The book ends by suggesting a wider field of research: the relationship between the Annotations and the corpus of Erasmian apologetic works.

The annals of the Anglo-Saxon Chronicle are fundamental to the study of the language, literature, and culture of the Anglo-Saxon period. Ranging from the ninth to the twelfth century, its five primary manuscripts offer a virtually contemporary history of Anglo-Saxon England, contribute to the body of Old English prose and poetic texts, and enable scholars to document how the Old English language changed.In Families of the King, Alice Sheppard explicitly addresses the larger interpretive question of how the manuscripts function as history. She shows that what has been read as a series of disparate entries and peculiar juxtapositions is in fact a compelling articulation of collective identity and a coherent approach to writing the secular history of invasion, conquest, and settlement. Sheppard argues that, in writing about the king's performance of his lordship obligations, the annalists transform literary representations of a political ethos into an identifying culture for the Anglo-Saxon nobles and those who conquered them.

Theories of sight and spectatorship captivated many writers and philosophers of the eighteenth century and, in turn, helped to define both sexual politics and gender identity. Eliza Haywood was thoroughly engaged in the social, philosophical, and political issues of her time, and she wrote prolifically about them, producing over seventy-five works of literature - plays, novels, and pamphlets - during her lifetime. Examining a number of works from this prodigious canon, Juliette Merritt focuses on Haywood's consideration of the myriad issues surrounding sight and seeing and argues that Haywood explored strategies to undermine the conventional male spectator/female spectacle structure of looking.Combining close readings of Haywood's work with twentieth-century debates among feminist and psychoanalytic theorists concerning the visual dynamics of identity and gender formation, Merritt explores insights into how the gaze operates socially, epistemologically, and ontologically in Haywood's writing, ultimately concluding that Haywood's own strategy as an author involved appropriating the spectator position as a means of exercising female power. Beyond Spectacle will cement Haywood's deservedly prominent place in the canon of eighteenth-century fiction and position her as a writer whose work speaks not only to female agency, but to eighteenth-century writers, gender relations, and power politics as well.

This book, a translation of the German volume n-Ecke, presents an elegant geometric theory which, starting from quite elementary geometrical observations, exhibits an interesting connection between geometry and fundamental ideas of modern algebra in a form that is easily accessible to the student who lacks a sophisticated background in mathematics. It stimulates geometrical thought by applying the tools of linear algebra and the algebra of polynomials to a concrete geometrical situation to reveal some rather surprising insights into the geometry of n-gons. The twelve chapters treat n-gons, classes of n-gons, and mapping of the set of n-gons into itself. Exercises are included throughout, and two appendixes, by Henner Kinder and Eckart Schmidt, provide background material on lattices and cyclotomic polynomials.(Mathematical Expositions No. 18)