Bøger udgivet af Fairleigh Dickinson University Press

In Hitler in the Movies: Finding Der Fuhrer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain's The Great Dictator or Ernst Lubitsch's To Be or Not to Be (1942), along with the Mel Brooks's 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler's Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins's The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl's iconic The Triumph of the Will or The Hidden Fuhrer, to the controversial Hitler: A Film from Germany and Quentin Tarantino's fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Fuhrer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

Reading the twelve major novels of Lawrence Durrell, this study argues for their consideration as a single major project, an opus, marked by themes of liminality and betweenness. As major texts of mid-twentieth-century literature, repeatedly earning nominations for the Nobel Prize, Durrell's work has attracted renewed critical attention since his centenary in 2012. This study shows the thematic unity of the opus in five areas. First, by disrupting expectations of love and death and by fashioning plural narrators, works in the opus blend notions of the subject and the object. Second, in their use of metafictional elements, the texts present themselves as neither fiction nor reality. Third, their approach to place and identity offers something between the naturalistic and the human-centric. Fourth, though the texts' initial concerns are engaged with understanding the past and preparing for a future, they all resolve in something like the present. And fifth, though the novels reject many aspects of modernism, they reside nevertheless between the poles of modernism and postmodernism. Shared with other writers, including T.S. Eliot and Henry Miller, as early as the 1940s, Durrell's plans for his major works of fiction remained consistent through the publication of the last novel in 1985, and these plans show the need to consider the twelve major works as a unitary whole.

Worlds of Hungarian Writing responds to the rapidly growing interest in Hungarian authors throughout the English-speaking world. Addressing an international audience, the essays in the collection highlight the intercultural contexts that have molded the conventions, genres and institutions of Hungarian writing from the nineteenth century to the present. They are mapping some of the ways in which a modern literature is produced by encounters with languages, cultures, and media external to its traditionally conceived boundaries. But rather than viewing intercultural exchange as an external force, the collection recognizes its enabling importance to the globalizing reception and circulation of Hungarian writing over the continuities and constraints implied by more traditional national narratives. Worlds of Hungarian Writing posits intercultural exchange as the very substance of a literary culture.Discussions of the politics of appropriation and translation, of the impact of émigré writers and critics, and of the use of world-literary models in genre-formation complement studies of the fate of western leftist critical theory in post-1989 Hungary, of the role of African-American models in contemporary Roma culture, and of the use of photography in late 20th-century prose. The volume spans a wide generic range, from the achievements of such canonical 19th-century critics and poets as József Bajza and János Arany, to neglected women authors-translators such as Theresa Pulszky, to modernist writers and critics like Antal Szerb and György Lukács, and to the contemporary novelists Péter Esterházy, Péter Nádas, and László Krasznahorkai. Each essay is an original contribution to comparative literature and to the study of this Central-European literature, but is intended to be accessible to readers unfamiliar with its traditions.

Charting the intersection of aesthetic representation and the material conditions of urban space, The City Since 9/11 posits that the contemporary metropolis provides a significant context for reassessing theoretical concerns related to narrative, identity, home, and personal precarity. In the years since the September 11 attacks, writers and filmmakers have explored urban spaces as contested sitesΓÇöshaped by the prevailing discourses of neoliberalism, homeland security, and the war on terror, but also haunted by an absence in the landscape that registers loss and prefigures future menace. In works of literature, film, and television, the city emerges as a paradoxical space of permanence and vulnerability and a convergence point for anxieties about globalization, structural inequality, and apocalyptic violence.Building on previous scholarship addressing trauma and the spectacle of terror, the contributors also draw upon works of philosophy, urban studies, and postmodern geography to theorize how literary and visual representations expose the persistent conflicts that arise as cities rebuild in the shadow of past ruins. Their essays advance new lines of argument that clarify artΓÇÖs role in contemporary debates about spatial practices, gentrification, cosmopolitanism, memory and history, nostalgia, the uncanny and the abject, postmodern virtuality, the politics of realism, and the economic and social life of cities. The book offers fresh readings of familiar post-9/11 novels, such as Jonathan Safran FoerΓÇÖs Extremely Loud & Incredibly Close, but it also considers works by Teju Cole, Joseph OΓÇÖNeill, Silver Krieger, Colum McCann, Ronald Sukenick, Jonathan Lethem, Thomas Pynchon, Colson Whitehead, Paul Auster, William Gibson, Amitav Ghosh, and Katherine Boo. In addition, The City Since 9/11 includes essays on the films Children of Men, Hugo, and the adaptation of Extremely Loud & Incredibly Close, chapters on the television series The Bridge, The Killing, and The Wire, and an analysis of Michael AradΓÇÖs Reflecting Absence and the 9/11 Memorial.

This book collects essays by actors, directors, scholars, and teachers who are exploring the ways in which the plays of William Shakespeare and his contemporaries were-and still are-performed.

America's Two Constitutions examines the history of treatment of antiwar dissenters from the American Revolution by the government and by vigilantes down to post-9/11, concluding that the United States has two constitutions, one for peacetime and another in time of war.

Ever since feminist scholarship began to reintroduce Harriet Beecher Stowe's writings to the American Literary canon in the 1970s, critical interest in her work has steadily increased. Rediscovery and ultimate canonization, however, have concentrated to a large extent on her major novelistic achievement, Uncle Tom's Cabin (1852). Only in recent years have critics begun to focus more seriously on the wide variety of her work and started to create knowledge that broadens our understanding. Beyond Uncle Tom's Cabin: The Writings of Harriet Beecher Stowe, edited by Sylvia Mayer and Monika Mueller, shows that during her long writing and publishing career, Stowe was a highly prolific writer who targeted diverse audiences, dealt with drastically changing economic, commercial, and cultural contexts, and wrote in a diversity of genres. Reflecting a recent trend to move Stowe's other texts to the fore, the essays collected in this volume thus go beyond the critical focus on Uncle Tom's Cabin. They focus on several of Stowe's other texts that have also significantly contributed to American literary and cultural history, among them her New England novels, her New York City novels, and her fictional writings on religious differences between Europe and the U.S. The essays in the first part of Beyond Uncle Tom's Cabin: The Writings of Harriet Beecher Stowe concentrate on Stowe's language use, her rhetoric and choices of narrative technique and style, while the essays in the second part concentrate on thematic issues such as the representation of race, ethnicity, and religion, her participation in the emerging environmentalist movement, and Stowe's response to major economic shifts after the Civil War.

Crossing Borders engages with the emergent field of borders studies, particularly in relation to North America, South Asia, and the transnational spaces they continue to embrace. While multicultural theory tends to emphasize specific and individual cultures, border studies examines the intersection of cultures and the resulting effects.

Spenser in the Moment argues that contrary to anyone's expectation, Spenser studies may be on the brink of a revolution. Bringing together scholars from three continents, it surveys established methods, and then makes the case that there may be whole worlds of Spenser that have been nearly unsee-able or unhearable in the past forty years.

At Work in the Early Modern English Theater: Valuing Labor explores the economics of the theater by examining how drama seeks to make sense of changing conceptions of labor. With the growth of commerce and market relations in sixteenth- and seventeenth-century England came the corresponding degradation and exploitation of workers, many of whom made their frustrations known through petitions and pamphlets. Poverty affected all sectors of society in early modern England and many laborers, even London citizens from more prosperous trades, could expect to experience periods of impoverishment. This group of precarious laborers included actors and playwrights, many of whom had direct connections to London's more established trades and occupations.Scholars have argued that dispossessed laborers turned to other forms of labor in lieu of their traditional livelihoods, including brigandage, piracy, begging, and cozening. To this list of alternative communities and applications of labor in the early modern period, Matthew Kendrick's scholarship adds the London theaters. Each chapter is guided by the central premise that anxiety over the objectification and dispossession of labor in its various forms is enacted on stage, and that drama helps to formulate, by merit of the theater's socioeconomic identity, an emerging laboring subjectivity engendered by the violent development of capitalism. As the nexus of a declining feudal social structure and an emerging capitalist regime of commodity production, a location in which dispossessed labor intersected with traditions of skilled labor and the unwieldy consumerist energies of the marketplace, the space of the theater was uniquely situated to channel and give dramatic form to the growing antagonisms and tensions that shaped labor. The stage offers a space in which to negotiate the value and meaning of labor in an increasingly exploitative society.

Reformers, almost by definition, claim the moral high ground because they see abuse and malpractice and want to abolish it. But when their perceptions become clouded, the high ground can quickly turn into quicksand. This work examines the Riggs war, a case of acute "government overreach," and the perpetrators involved.

This book traces the emergence of dedicated spaces for the administration of justice in Scotland. It examines the evolution of the architectural forms of the Scottish court, and the extent to which both changes in technology and commitment to cost reduction appear to have replaced civic pride as a driver in design.

The American Way of Life is a cultural history of the American Way of Life (or more simply the American Way). The book argues that since the term was popularized in the 1930s, the American Way has served as the primary guiding mythology or national ethos of the United States.

Judges in Street Clothes provides an historical, theoretical, and practical analysis of the ethical restrictions placed on the public lives of judges. The State's interest in maintaining an independent and impartial judiciary is considered against a judge's right to engage in educational, religious, charitable, civic, and professional activities.

As the subtitle indicates, this book has three majors concerns. The first and most important concern is an examination of the film adaptations of Woolf's novelsTo the Lighthouse, Orlando, and Mrs. Dallowayin the order the films were released. This is the heart of the matter, a fairly conventional effort to acknowledge film reviews as well as the criticism of academicians in film or literature as a starting point for a fresh view of these three film adaptations. Since many film specialists prefer that no film ever be adapted from literary fiction and many literature specialists have similarly wished that their favorite novels had never been filmed, the effort to mediate the two sides can be challenging. Of the three films, To the Lighthouse is the least successful, tending toward the old Masterpiece Theater mode of attempting to be faithful to the ';source text,' to use the term of the film theorist Robert Stam, but missing the essence of the novel. Director Sally Potter's Orlando is cinematically the most venturesome and attractive, although some Woolf readers condemn Potter's erasure of Woolf's intent to celebrate her affair with Vita Sackville-West (whose son Nigel Nicolson called Woolfs Orlando ';the longest and most charming love-letter in literature'). Mrs. Dalloway tends toward the Merchant/Ivory style of treating literary masterworksindeed, the film credits include a debt of gratitude to the producer/director partnershipand is generally carried by the star power of Vanessa Redgrave, although it is difficult to imagine her having a crush on another young woman, even at eighteen.The book's second concern is Woolf's interest in what she would call ';the cinema.' As a member of Bloomsbury, she saw and participated in the discussion of the cinema, especially avant-garde films, which she considered to be more the future of cinema than film adaptations, upon which she heaped great scorn for their ravenous, if not rapacious, consumption of vulnerable literary fiction such as Leo Tolstoy's Anna Karenina. Woolf specialists such as Leslie Hankins proclaim her one of the earliest and most significant British film theorists for the brilliant essay ';The Cinema' (1925), as film was just beginning to establish itself as art and not merely popular entertainment.The third concern is a complex effort to explore the David Hare/Stephen Daldry film adaptation of Michael Cunningham's Pulitzer Prizewinning novel The Hours, an homage to Mrs. Dalloway in which Virginia Woolf has a starring role, as portrayed by Oscar winner Nicole Kidman. The film and Kidman's prosthetic nose produced a violent division among the Woolfians who either commended its bringing legions of new readers to Mrs. Dalloway and potentially to ';Woolf'Mrs. Dalloway becoming the best-seller it could not have been in her lifetimeor were outraged by the film's diminishment of probably the most important female British novelist of the 20th century. Even Nobel Laureate Doris Lessing spoke out against the travesty of a novelist she considered a foremother of later 20th-century writers.

In Shakespeare's Dramatic Persons, Travis Curtright examines the influence of the classical rhetorical tradition on early modern theories of acting in a careful study of and selection from Shakespeare's most famous characters and successful plays. Curtright demonstrates that ';personation'the early modern term for playing a roleis a rhetorical acting style that could provide audiences with lifelike characters and action, including the theatrical illusion that dramatic persons possess interiority or inwardness.Shakespeare's Dramatic Persons focuses on major characters such as Richard III, Katherina, Benedick, and Iago and ranges from Shakespeare's early to late work, exploring particular rhetorical forms and how they function in five different plays. At the end of this study, Curtright envisions how Richard Burbage, Shakespeare's best actor, might have employed the theatrical convention of directly addressing audience members.Though personation clearly differs from the realism aspired to in modern approaches to the stage, Curtright reveals how Shakespeare's sophisticated use and development of persuasion's arts would have provided early modern actors with their own means and sense of performing lifelike dramatic persons.

Victorian Literary Cultures: Studies in Textual Subversion is an anthology featuring leading critical voices, including such figures as Nancy Henry, Julian Wolfreys, Ira Nadel, Joseph Wiesenfarth, and William Baker, among others, as they address ideas of subversion in nineteenth-century literature.

This book tells the story of how and why millions of Chinese works of art got exported to collectors and institutions in the West, in particular to the United States. As China's last dynasty was weakening and collapsing from 1860 into the early years of the twentieth century, China's internal chaos allowed imperial and private Chinese collections to be scattered, looted and sold. A remarkable and varied group of Westerners entered the country, had their eyes opened to centuries of Chinese creativity and gathered up paintings, bronzes and ceramics, as well as sculptures, jades and bronzes. The migration to America and Europe of China's art is one of the greatest outflows of a culture's artistic heritage in human history. A good deal of the art procured by collectors and dealers, some famous and others little known but all remarkable in individual ways, eventually wound up in American and European museums. Today some of the art still in private hands is returning to China via international auctions and aggressive purchases by Chinese millionaires.

This study examines the third generation ethnic return to the homeland and its identity quest through myth, history, and storytelling as seen in late-twentieth-century novels. Through a comparison between Italian American and Greek American works, the book discusses contemporary ethnic cultures, histories, and the common painful identity issues.

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.

Volume II of this series presents the unabridged text of Progress and Poverty, arguably the most influential work of Henry George. The original text is supplemented by notes that explain the changes George made during his lifetime and the many references he made to history, literature, economics, and public policy.

This is a history book that studies the thought and actions of Jose Gervasio Artigas throughout the decade of his prominence (1810 1820) as leader of the Federal League, which united his native territory of Uruguay to four neighboring provinces in today's Argentina.This was the period when the Spanish king's abdication propelled elites across that country's former American colonies to hastily construct new local institutions to carry on governing functions and to assure order and stability. Within a few years that new leadership had to do battle against the armies sent by Spain's new leadership that attempted to reassert its control.In the Banda Orientaltoday's UruguayArtigas, with democratic and egalitarian values, enjoyed wide support among the rural poor as well as the landed elite. His military victories over the Spanish, and then his successful defense of provincial autonomy before the imperialist ambitions of Buenos Aires, account for the spread of his influence to neighboring provinces and the creation of the Federal League. His short-term successes infuriated powerful elites in both Buenos Aires and the Portuguese colonies of today's Brazil. These, allied to the newly potent British empire, then collaborated to bring about his defeat. Artigas' career, as seen in retrospect, was riddled with contradiction and ambiguity, yet his record of achievements is worthy of remembrance and honor.The book provides information, largely ignored by previous historians, about his important dealings with three central figures in Argentina's independence movement: Generals Manuel Belgrano. Martn Guemes, and Jose de San Martn.

The last quarter century has seen a ';turn to religion' in Shakespeare studies as well as competing assertions by secular critics that Shakespeare's plays reflect profound skepticism and even dismissal of the truth claims of revealed religion. This divide, though real, obscures the fact that Shakespeare often embeds both readings within the same play. This book is the first to propose an accommodation between religious and secular readings of the plays. Benson argues that Shakespeare was neither a mere debunker of religious orthodoxies nor their unquestioning champion. Religious inquiry in his plays is capacious enough to explore religious orthodoxy and unorthodoxy, everything from radical belief and the need to tolerate religious dissent to the possibility of God's nonexistence. Shakespeare's willingness to explore all aspects of religious and secular life, often simultaneously, is a mark of his tremendous intellectual range.Taking the heterodox as his focus, Benson examines five figures and ideas on the margins of the post-Reformation English church: nonconforming puritans such as Malvolio as well as physical revenantsthe walking deadwhom Shakespeare alludes to and features so tantalizingly in Hamlet. Benson applies what Keats called Shakespeare's ';negative capability'his ability to treat both sides of an issue equally and without prejudiceto show that Shakespeare considers possible worlds where God is intimately involved in the lives of persons and, in the very same play, a world in which God may not even exist. Benson demonstrates both that the range of Shakespeare's investigation of religious questions is more daring than has previously been thought, and that the distinction between the sacred and the profane, between the orthodox and the unorthodox, is one that Shakespeare continually engages.

This book revisits the philosophy and aesthetic Elsa Morante outlined in her literary writings. Stefania Lucamante presents a fresh outlook at Morante's work to determine the importance of her work today, to appreciate her theoretical and stylistic legacy, and to understand why and which elements of her work have inspired Italian artists.

Philosophy of Communication Ethics is a unique and timely volume that creatively examines communication ethics, philosophy of communication, and the 'Other.'

This critical volume offers an overview and close analysis of Italian women's autobiographical writings from the twentieth century, engaging with issues of form and content and identifying recurring paradigms. It will be of interest to students of Italian literature and culture, autobiographical studies, and gender studies.

The most flamboyant, consistently dishonest racketeer was Supervisor of Internal Revenue John McDonald, whose organization defrauded the federal government of millions of dollars. When President Grant was asked why he appointed McDonald supervisor of internal revenue he responded, ';I was aware that he was not an educated man, but he was a man that had seen a great deal of the world and of people, and I would not call him ignorant exactly, he was illiterate.' McDonald organized and ran the Whiskey Ring but he always credited Grant with the initiation of the Ring declaring that the president ';actually stood god-father at its christening.' The demise of the Ring rivals anything that the real or fictional Elliot Ness and his ';Untouchables' ever accomplished during the prohibition era in America.

The first major study to challenge the narrow definition of post traumatic stress disorder (PTSD) by rereading six American literary texts, this book argues for the importance of literature in representing not just circumscribed, singular traumatic events, as Cathy Caruth argued in the late nineties, but for giving voice to chronic and cumulative, or complex, traumatic experiences. This interdisciplinary study traces the development of fatherdaughter incest narratives published in the last hundred years, from male-authored fiction to female-authored memoir, bringing new readings to Fitzgerald's Tender Is the Night, Ellison's Invisible Man, and the Dylan Farrow-Woody Allen case. This study builds on the work of those ushering in a second-wave of trauma theory, which has argued that the difficulty of speaking about a traumatic experience is not necessarily caused by neurobiological changes that prevent victims from recalling details. Rather, it's from social and political repercussions. In other words, they argue that many who experience trauma aren't unable to deliver accounts; they fear the results. There is a significant gender component to trauma, whose implications, along with those of race and class, have largely gone unexamined in the first-wave of trauma theory. Exploring two additional questions about articulating trauma, this book asks what happens when the voice of trauma is crying out from what Toni Morrison has called the ';most delicate,' ';most vulnerable' member of society: a female child; and, second, what happens when the trauma is not just a time-limit event but chronic and cumulative experiences. Some traumatic experiences, namely fatherdaughter incest, are culturally reduced to the untellable, and yet accounts of paternal incest are readily available in American literature. This book is written in part as a response to the psychological community which failed to include complex PTSD in the latest edition of the DSM (DSM-5), denying victims, many of whom are fatherdaughter incest survivors, the validation and recognition they deserve and leaving many misdiagnosed and thereby mistreated.

In this monograph, Gregory M. Pell provides a full-length study on the poetry of Davide Rondoni, one of Italy's most active contemporary writers and thinkers. This book includes comparative studies of Jorie Graham, Gjertrud Schnackenberg, Charles Wright, John Ashbery, Patrizia Fazzi, and Mario Luzi. As the first book in English on Davide Rondoni's poetry, this study explores how the Italian poet deals with art, and the places of art, in a way that transcends the notion of ekphrasis (or, verbal representation of pictorial art) to see poetry as the transcription of an experience with art, thus becoming a sort of anti-ekphrasis, or an atmospheric ekphrasis. The social and religious aspects of art take precedence over aesthetic concerns, without discounting them, in Rondoni's unsentimental poetry, which takes the form of recitative theatrical monologues. Thus, art becomes more than simple visual representation or the subject of an art history catalogue. Instead, in certain poets, such as Rondoni, we experience life through art's complete process: from the artist's originary idea to the work's execution to our interaction with it in the here and now.

A scholarly work of synthesis and interpretation that focuses on encounters with light, this book tells the story of its seducing individuals through the ages. Rather than the historical investigation of light's "essential" nature, the book's subject is our relationship with light, as revealed in works of art and literature.