Bøger udgivet af Ohio State University Press

Nine inhabitants of a sleepy Irish seaside town tell what they know about a visitor from out of town who is rumored to be both attractive and dangerous. A young mother in an affluent Long Island community finds herself strangely drawn to the woman she has hired as her housekeeper. After her small business venture fails, a woman is forced to move back in with her parents and discovers they aren''t the couple she thought they were at all. In fourteen expertly crafted stories, Wendy Rawlings chronicles with comic sympathy what happens when American women and Irish men, parents and children, employers and employees, hurtle toward each other and crash headlong into cultural or generational roadblocks. Like the American in the title story, who can imagine only a "litter of claddagh rings and Erin go bragh, the high-stepping of Riverdance on videocassette" until she gets on a plane and goes to Ireland, Rawlings''s fiction entreats us to toss out the picture-perfect images we have of American consumer culture, Irish tourist towns, and the institution of marriage and enter the world of her fictions-more contradictory, troubling, and true.

What happened to Ebenezer Scrooge after the night he was visited by the three spirits?When we left Ebenezer Scrooge at the end of A Christmas Carol, he appeared to be a man transformed. But did he sincerely repent and earn admission to heaven? The Trial of Ebenezer Scrooge, written in Dickensian style and with tongue firmly lodged in cheek, follows Scrooge through the Court of Heavenly Justice, where his soul''s fate is to be determined. In this courtroom drama, using frequent flashbacks, the author uncovers startling evidence, much of it directly from Dickens''s classic, that reveals Scrooge to have lived a saintly life before being confronted by three Christmas ghosts. Evidence mounts that Mr. Scrooge struck a Faustian bargain with the Ghost of Christmas Yet to Come, a deal to extend his own mortality in exchange for yielding his soul as a tool for the forces of darkness to infiltrate heaven. Readers will enjoy the remaking of some of Dickens''s best-known characters. Tiny Tim emerges as a villain, while little Eppie, borrowed from George Eliot''s Silas Marner, is Scrooge''s protector and source of salvation. This new novel provides the much-needed redemption of Ebenezer Scrooge''s reputation and offers a welcome departure from the standard saccharine fare at Christmastime. Dickens buffs will have a merry time trying to find where Dickens''s voice ends and the author''s begins. All readers will puzzle over how we could have so misjudged Ebenezer Scrooge, or whether we judged Scrooge aright from the start.

George Dell''s Dance unto the Lord is a compelling fusion of history and fiction. Set in 1848 to 1852, when Ohio was considered to be the West, Dance unto the Lord transports the readers to Union Village, a Shaker community in southwestern Ohio. The novel traces the coming of age of Richard and Ruth, young people who wish to marry but are forbidden to do so by Richard''s parents. In desperation, Richard runs away to Cincinnati. Ruth, too, leaves her family. She settles in Union Village and eventually becomes a teacher at the Shaker school. Torn between her desire for freedom and the security of life with the Shakers, Ruth becomes increasingly more immersed in the Shaker society while dreaming of Richard and a life outside the community. Meanwhile, through his experiences with an ill-fated blacksmith''s shop and its owners, Richard learns that life in the city can be complicated and painful.As he traces Richard''s and Ruth''s experiences, Dell vividly re-creates the texture of rural and city life in mid-nineteenth-century Ohio, providing a fascinating, well-researched account of a long-gone era. Dance unto the Lord provides wonderfully detailed descriptions of a Shaker community and life style. This book will be compelling reading for anyone interested in the time period, the Shakers, or simply a good story.

In Translation Effects: Language, Time, and Community in Medieval England, Mary Kate Hurley reinterprets a well-recognized and central feature of medieval textual production: translation. Medieval texts often leave conspicuous evidence of the translation process. These translation effects are observable traces that show how medieval writers reimagined the nature of the political, cultural, and linguistic communities within which their texts were consumed. Examining translation effects closely, Hurley argues, provides a means of better understanding not only how medieval translations imagine community but also how they help create communities. Through fresh readings of texts such as the Old English Orosius, Ælfric's Lives of the Saints, Ælfric's Homilies, Chaucer, Trevet, Gower, and Beowulf, Translation Effects adds a new dimension to medieval literary history, connecting translation to community in a careful and rigorous way and tracing the lingering outcomes of translation effects through the whole of the medieval period.

The Politics of Reproduction: Adoption, Abortion and Surrogacy in the Age of Neoliberalism uniquely brings together three sites of reproduction and reproductive politics to demonstrate their entanglement in creating or restricting options for family-making. The original essays in this collection-which draw from a wide range of disciplinary and theoretical perspectives-are attentive to neoliberalism's reshaping of economies and intimacies to better understand the politics of reproduction. By looking at particular instances (surrogacy in Mexico, forced sterilization in Peru, and racialized biopolitics in post-Katrina Mississippi, among other sites), The Politics of Reproduction focuses on the effects of a radically altered economic landscape on individual choice-making. As a whole, the volume critically engages the question of choice to better understand the costs of a political and ideological climate that encourages, even demands, individual solutions to intractable social problems. Whose choices are amplified in the use of new biomedical technologies and assisted reproduction? Why and how are we discouraged from understanding the economic motivations behind the "choice" to surrender a baby for adoption or to become a surrogate or to seek an abortion? Attentive to the historical, cultural, and ideological conjunctures of reproductive politics, The Politics of Reproduction makes a distinctive contribution to feminist analyses of the specific challenges posed by neoliberalism to reproductive possibilities, politics, and justice in the contemporary moment.

People in medieval England talked, and yet we seldom talk or write about their talk. People conversed not within literary texts, but in the world in which those texts were composed and copied. The absence of such talk from our record of the medieval past is strange. Its absence from our formulation of medieval literary history is stranger still. In Talk and Textual Production in Medieval England, Marisa Libbon argues that talk among medieval England's public, especially talk about history and identity, was essential to the production of texts and was a fundamental part of the transmission and reception of literature. Examining Richard I's life as an exemplary subject of medieval England's class-crossing talk about the past, Libbon advances a theory of how talk circulates history, identity, and cultural memory over time. By identifying sites of local talk about England's past, from law courts to palace chambers, and tracing rumors about Richard that circulated during his life and long after his death, Libbon offers a literary history of Richard that accounts for the spaces between and around extant manuscript copies of Middle English romances like Richard Coeur de Lion, insular and Continental chronicles, and chansons de geste with figures such as Charlemagne and Roland. These spaces, usually dismissed as silent, tell us about the processes of writing and reading and illuminate the intangible daily life in which textual production occurred. In revealing the pressures that talk about the past exerted on textual production, this bookrelocates the power of making culture and collective memory to a wider, collaborative authorship in medieval England.

Lorena Cuya Gavilano's Fictions of Migration: Narratives of Displacement in Peru and Bolivia is an aesthetic and cultural analysis of how political and economic trends have impacted narratives about migration in Peru and Bolivia in the late twentieth and early twenty-first centuries. Going beyond representations of migrants as subjects of crisis, Fictions of Migration approaches the migrant as a subject of knowledge, examining how narratives of migrancy in the Andes have become affective epistemological tools to learn about migrants' experiences, cultural roots, and the mishaps of modernity that caused their displacement in the first place. Through the examination of films and novels-by such writers and filmmakers as José María Arguedas, Blanca Wiethüchter, Daniel Alarcón, Claudia Llosa, Jorge Sanjinés, Juan Carlos Valdivia, Jesús Urzagasti, and Paolo Agazzi, among others-Cuya Gavilano looks at the intersection of crisis, knowledge, and affect in order to piece together seemingly incompatible images of migrancy. She explores how dissimilar images of migration in two countries with a common ethnic and cultural history are the result of differentiated emotional and social responses to the adoption and adaptation of neoliberal economic agendas. Fictions of Migration thereby shows Andean stories of displacement can serve as distinctive models to understand multiethnic national spaces globally.

Perspectives: Modes of Viewing and Knowing in Nineteenth-Century England reopens the question of classical perspective and its vicissitudes in aesthetic practice with a focus on texts of the 1830s to the end of the 1870s. Linda M. Shires demonstrates why and how artists and writers across media experimented with techniques of dissolution, combination, and multiple viewpoints much earlier in the century than intellectual historians generally assume. Arguing for a relationship between what she calls the disappearing "I" in poetry, a compromised omniscience, and the testing of a mastering eye in painting and photography, Shires argues that art forms themselves, rather than new technologies alone, reshaped the period by educating readers and viewers into new ways of knowing. In chapters on visual and verbal art and a waning theocentrism; D.G. Rossetti; Henry Peach Robinson and Lady Clementina Hawarden; and Robert Browning, Wilkie Collins, and George Eliot, Shires revitalizes the currently available scholarship on connections among nineteenth-century art forms. This interdisciplinary study offers nuanced, close readings in order to rebut assertions of delayed artistic responses to the decreasing influence of traditional perspective. It shows how vision is bound up with all the senses of a viewer and it supports current concepts of modernism as transitional, rather than radical.