Bøger udgivet af University of Michigan Press

Crying holds a privileged place in conversations around emotions as an expression of authentic feeling. And yet, tears are ambiguous: they might signal the most positive and negative of affects; they might present a sincere revelation of self or be simulated to manipulate others. Unsurprisingly, tears figure prominently on stage and on screen, where actors have experimented with the mechanics of making tears. Cue Tears: On the Act of Crying uses tears as a prism through which to see some of the foundational problems and paradoxes of acting and spectatorship anew, including matters of authenticity and sincerity, the ethics of the witness, the interaction between a speech act and its affective force, liveness and documentation. Across seven semi-autonomous essays, Cue Tears looks at the mechanisms of tear production, internal and external techniques that actors use to weep, and the effects of tears in performance situations on the stage, in the gallery, and in the classroom. The writing moves with a light touch between theory and criticism of a broad range of instances from literature, theater, performance art, visual art, and cinema, while also embracing a strong autobiographical and personal slant. Author Daniel Sack's father was a biochemist who studied tears and collected his son's tears for research during his childhood. These "reflex tears" were produced as a physical response to irritation--an eye stretched past the point of blinking, a cotton swab up the nose. This childhood occupation coincided with his first years taking acting classes, trying to learn how to cry "emotional tears" onstage through psychological stimulation and the recollection of memory. Cue Tears investigates these memories and methods, finding that tears both shore up and dissolve distinctions between truth and artifice, emotional and physical, private and public, sad and humorous.

Geographies of Relation demonstrates how examining texts created throughout the Americas about diaspora and borderlands offers a lens to think about representations of race, ethnicity, and gender. Theresa Delgadillo crosses interdisciplinary and canonical borders to investigate the interrelationships of African-descended, Latinx and mestizx peoples through an analysis of Latin American, Latinx, and African American literature, film, and performance. Not only does Delgadillo offer a rare extended analysis of Black Latinidades in Chicanx literature and theory, but she also considers over a century's worth of literary, cinematic, and performative texts to support her argument about the significance of these cultural sites and overlaps. Chapters illuminate the significance of Toña La Negra in the Golden Age of Mexican cinema, reconsider feminist theorist's Gloria Anzaldúa offerings to revise exclusionary Latin American ideologies of mestizaje, unpack encounters between African Americans and Black Puerto Ricans in texts about twentieth-century New York, explore the expression of the African diaspora in colonial and contemporary Peru through literature and performance, and revisit the centrality of Black power in ending colonialism in various narratives. Thus, Geographies of Relation demonstrates the long histories of diaspora networks and exchanges across the Americas as well as the interrelationships among Indigenous, mestizx, Chicanx, and Latinx peoples. It offers a compelling argument that geographies of relation are as significant as national frameworks at structuring cultural formation and change in this hemisphere.

Germany held a monopoly on the manufacture and export of bisque toy dolls in Europe before WWI. Yet, dolls' omnipresence in the material, visual, and literary culture of the modern German-speaking world has so far not been properly addressed. In demonstrating this cultural affinity for dolls, Christophe Koné draws upon a range of stories and seminal essays on dolls, as well as toys, sculptures, paintings, and photographs. He examines how E.T.A. Hoffmann's romantic tale The Sandman (1815) has been a major source of inspiration for German-speaking doll makers because of how it centers imagination and inventiveness. Using Hoffmann's tale as an early example of an amalgam between doll thinking and making in German culture, Koné shows how it initiated a genealogy of doll thinkers (Freud & Jentsch), writers (Rilke), painters (Kokoschka), photographers (Bellmer), and makers (Pritzel). Uncanny Creatures then explores how this unusual interest in human-like figures continues a long tradition of thought devoted to conceptualizing "things," from Immanuel Kant's theory of the thing-in-itself to Martin Heidegger's lecture on the thing, and Eduard Mörike or Rainer Maria Rilke's thing-poems. Because dolls occupy a liminal space--not quite things and more than mere objects--they appear as uncanny creatures which have held a fascination for writers, thinkers, and artists alike. Uncanny Creatures moves past the Freudian discourse of fetishism to propose a new reading of doll artifacts in German culture centered on their ability to evoke a feeling of uncertainty and unsettlement in the viewer.

The Greek Alexandrian poet C. P. Cavafy (1863-1933) has been recognized as a central figure in European modernism and world literature. His poetry explored the conditions for animating the past and making lost worlds or people haunt the present. Yet he also described himself as "a poet of the future generations." Indeed, his writings address concerns and desires that permeate the twentieth and twenty-first centuries. How does poetry concerned with the past, memory, loss, and death, carry futurity? Specters of Cavafy broaches these questions by proposing spectral poetics as a novel approach to Cavafy's work. Drawing from theorizations of specters and haunting, it develops spectrality as a lens for revisiting Cavafy's poetry and prose, fiction and nonfiction, as well as his poetry's bearing on our present. By examining Cavafy's spectral poetics, the book's first part shows how conjurations work in his writings, and how the spectral permeates the entanglement of modernity and haunting, and of irony and affect. The second part traces the afterlives of specific poems in the Western imagination since the 1990s, in Egypt's history of debt and colonization, and in Greece during the country's recent debt crisis. Beyond its original contribution to Cavafy studies, the book proposes tools and modes of reading that are broadly applicable in literary and cultural studies.

In addition to his work as visual artist, publisher, poet, and composer, Dick Higgins (1938-98) was also a genuine man of the theater. A founder of Fluxus, he was a major figure in artistic communities in downtown New York City, across Europe, and in Japan. Yet as important as Higgins's work has been to historians of the American avant-garde, relatively little attention has been paid to his radical theatrical vision. Anatomies of Theater brings together a broad selection of Higgins's writings and theater-related work, much of it unpublished or long out of print, including plays and performance scores, drawings, and writings on theater and performance. As this book demonstrates, Higgins deconstructed the drama long before it became a project of theater; undercut the traditional roles of author and director; created what is now considered "devised" theater; pioneered the use of media in theater, writing the first electronic opera; and was a precursor in deconstruction and "postdramatic" avant-garde traditions. His Intermedia manifesto offered a sweeping view of interdisciplinarity--in effect, a new arts ecology.

As India's power and prominence rise on the international stage, its longstanding tradition of democracy is under threat. Since establishing a secular and democratic constitution in 1950, India has held elections at the local, state, and national levels with frequent transitions of power between opposing parties. This commitment to democracy has provided political order to a country that is twice the size of Europe and with a stunning array of social and economic divides. Despite this rich tradition, India's democracy faces an unprecedented threat with the rise of Narendra Modi and his Hindu nationalist party, the Bharatiya Janata Party. After decisively winning general elections in 2014, Modi and the BJP have pursued a range of anti-democratic policies in which the state and society are used to undermine the opposition, to stifle free speech, and to harass religious minorities. The Troubling State of India's Democracy brings together leading scholars from around the world to assess the conditions of India's democracy across three important dimensions: politics, specifically the state of political parties and the party system; the state, including the condition of federalism and the health of various institutions; and society, including NGOs, ethnic and religious tensions, and control of the media. Even though elements of India's democracy seem to function--like its commitment to elections--the contributors document a disturbing trajectory, one that not only threatens to undermine India's own stability, but could also affect the global order.

Beyond the River, Under the Eye of Rome presents the Danube frontier of the Roman empire as the central stage for many of the most important political and military events of Roman history, from Trajan's invasion of Dacia and the Marcomannic Wars, to the humbling of the Roman state power at the hands of the Goths and Huns. Hart delves into the cultural and political impacts of Rome's interactions with Transdanubian peoples, emphasizing the Sarmatians of the Hungarian Plain, whose long encounter with the Roman Empire, he argues, created a problematic template for later dealings with Goths and Huns based on misapplied ethnographic and ecological tropes. Beyond the River, Under the Eye of Rome explores how Roman stereotypical perceptions of specific Danubian peoples directly influenced some of the most politically significant events of Roman antiquity. Drawing on textual, inscriptional, and archaeological evidence, Hart illustrates how Roman ethnic and ecological stereotypes were employed in the Danubian borderland to support the imperial frontier edifice fundamentally at odds with the region's natural topography. Distorted Roman perceptions of these Danubian neighbors resulted in disastrous mismanagement of border wars and migrant crises throughout the first five centuries CE. Beyond the River demonstrates how state-supported stereotypes, when coupled with Roman military and economic power, exerted strong influences on the social structures and evolving group identities of the peoples dwelling in the borderland.

In Search of Admiration and Respect examines the institutionalization of Chinese cultural diplomacy in the period between high imperialism and the international ascendance of the People's Republic of China. During these years, Chinese intellectuals and officials tried to promote the idea of China's cultural refinement in an effort to combat negative perceptions of the nation. Yanqiu Zheng argues that, unlike similar projects by more established powers, Chinese cultural diplomacy in this era was not carried out solely by a functional government agency; rather, limited resources forced an uneasy collaboration between the New York-based China Institute and the Chinese Nationalist government. In Search of Admiration and Respect uses the Chinese case to underscore what Zheng calls "infrastructure of persuasion," in which American philanthropy, museums, exhibitions, and show business had disproportionate power in setting the agenda of unequal intercultural encounters. This volume also provides historical insights into China's ongoing quest for international recognition. Drawing upon diverse archival sources, Zheng expands the contours of cultural diplomacy beyond established powers and sheds light on the limited agency of peripheral nations in their self-representation.

What is going on when a graphic novel has a twelfth-century samurai pick up a telephone to make a call, or a play has an ancient aristocrat teaching in a present-day schoolroom? Rather than regarding such anachronisms as errors, Samurai with Telephones develops a theory of how texts can use different types of anachronisms to challenge or rewrite history, play with history, or open history up to new possibilities. By applying this theoretical framework of anachronism to several Japanese literary and cultural works, the book demonstrates how different texts can use anachronism to open up history for a wide variety of different textual projects. From the modern period, author Christopher Smith examines literature by Mori Ōgai and Ōe Kenzaburō, manga by Tezuka Osamu, art by Murakami Takashi, and a variety of other pop cultural works. Turning to the Early Modern period (Edo period, 1600-1868), which produced a literature rich with playful anachronism, he also examines several Kabuki and Bunraku plays, kibyōshi comic books, and gōkan illustrated novels. In analyzing these works, he draws a distinction between anachronisms that attempt to hide their work on history and convincingly rewrite it and those conspicuous anachronisms that highlight and disrupt the construction of historical narratives.

Myths are not just the stories from the ancient Greeks and Romans--they represent deep truths from the essential concerns people face in their lives. Readers may already have heard of the Trojan Horse or how Oedipus married his own mother, but why have these stories lingered? In Classical Myth: An Introduction, Barry B. Powell provides the historical and theoretical background necessary for us to understand not only the concept of what a myth is, but the cultural context of how it emerged, and the different approaches to interpreting myth that were put forward by ancient theorists and their more recent successors. Then he helps readers to understand classical myth as it is found in its primary sources: the works of Homer and Hesiod, and the Greek tragedians and historians, Ovid and Vergil. By examining a number of prominent themes in classical myth, this textbook explores the relationship between myth and art, politics, society, and history of the ancient world. This completely revised second edition features new illustrations and will help readers who want to understand myths or study their original sources.

Blending archival work, ethnography, and cultural analysis with memoir, graphic arts, and science fiction, Queer Chimerica unpacks the ways in which the transnational circulation of queer culture, politics, and institutions are structured through the antagonist interdependence of China and the United States. By examining the intersecting timelines of the rise of queer theory and the rise of China in the late Cold War era, Shana Ye explores the relationship between the discourse of queer fluidity and capital's demands for labor flexibility. Drawing on rare archival material and oral historical accounts of queer life from the 1950s to the late 2010s, the author shows how these accounts make sense of the variegated landscapes of desires, transformations, and conundrums in postsocialist China. The author illustrates party cadres in the Cultural Revolution, tongzhi activism mediated by the explosive politics of Tiananmen upheaval, HIV/AIDS community outreach workers, feminist artists and digital activists, leftist queer theorists, and fictional bio-engineers, layering these vivid depictions to reveal the poetic messiness of queer world-making. QueerChimerica offers insight into the governmentality of LGBT rights, the rules of legibility and recognition, the geo- and bio-politics of identity, and the class-ridden appropriation of queer history and community. Thus understanding the production of queerness unveils the uneven distributions of capital, knowledge, affect, and opportunity that reproduce queer precarity and agency.

People with Down syndrome possess a culture. They are producers of culture. And in the 21st century, this culture is increasingly visible as a global phenomenon. Down Syndrome Culture examines Down syndrome alongside its social, cultural, and artistic representation. Author Benjamin Fraser draws upon neomaterialist and posthumanist approaches to disability as well as the work of disability theorists such as David Mitchell, Sharon Snyder, Susan Antebi, Tobin Siebers, and Stuart Murray. By particularly focusing on Down syndrome, he showcases the unique place that it holds as an intellectual and developmental disability--one that fits between the social and medical models of disability--within the disability studies field. Down Syndrome Culture also pushes the traditionally Anglophone borders of disability studies by examining examples in Spanish, Catalan, and Portuguese-language texts, and incorporating the work of thinkers in Iberian and Latin American studies. Through a close analysis of life writing, documentaries, and fiction films, the book emphasizes the central role of people with Down syndrome in contemporary cultural production. Chapters discuss the autobiography of Andy Trias Trueta, the social actors of the documentary Los niños [The Grown-Ups] (2016), dancers from Danza Mobile, and a variety of fiction films, challenging ableist understandings of disability in nuanced ways. Ultimately, this book reveals the lives, cultural work, and representations of people with trisomy 21 in an international context.

Learning to Love offers a range of perspectives on the embodied, relational, affective, and sociopolitical project of "learning to love" at the New Life Center for Holistic Growth, a popular "mind-body-spirit" bookstore and practice space in northeast China, in the early part of the 21st century. This intimate form of self-care exists alongside the fast-moving, growing capitalist society of contemporary China and has emerged as an understandable response to the pressures of Chinese industrialized life in the early 21st century. Opening with an investigation of the complex ways newcomers to the center suffered a sense of being "off," both in and with the world at multiple scales, Learning to Love then examines how new horizons of possibility are opened as people interact with one another as well as with a range of aesthetic objects at New Life. Author Sonya Pritzker draws upon the core concepts of scalar intimacy--a participatory, discursive process in which people position themselves in relation to others as well as dominant ideologies, concepts, and ideals--and scalar inquiry--the process through which speakers interrogate these forms, their relationship with them, and their participation in reproducing them. In demonstrating the collaborative interrogation of culture, history, and memory, she examines how these exercises in physical, mental, and spiritual self-care allow participants to grapple with past social harms and forms of injustice, how historical systems of power continue in the present, and how they might be transformed in the future. By examining the interactions and relational experiences from New Life, Learning to Love offers a range of novel theoretical interventions into political subjectivity, temporality, and intergenerational trauma/healing.

Uncovering the undead stalking the panels of action/adventure and superhero comics

No region in the world has been more hostile to democracy, more dominated by military and security institutions, or weaker on economic development and inclusive governance than the Middle East. Why have Arab states been so oppressively strong in some areas but so devastatingly weak in others? How do those patterns affect politics, economics, and society across the region? The state stands at the center of the analysis of politics in the Middle East, but has rarely been the primary focus of systematic theoretical analysis. Making Sense of the Arab State brings together top scholars from diverse theoretical orientations to address some of the most critically important questions facing the region today. The authors grapple with enduring questions such as the uneven development of state capacity, the failures of developmentalism and governance, the centrality of regime security and survival concerns, the excesses of surveillance and control, and the increasing personalization of power. Making Sense of the Arab State will be a must-read for scholars of the Middle East and of comparative politics more broadly.

Rural cemeteries--named for their expansive, picturesque landscape design rather than location--were established during the middle decades of the nineteenth century in the United States. An instant cultural phenomenon, Mount Auburn Cemetery in Cambridge, Massachusetts, was the nation's first such burial ground to combine the functions of the public park and the cemetery, becoming a popular place to picnic and go for strolls even for people who didn't have graves to visit. It sparked a nationwide movement in which communities sought to establish their own cities of the dead. Pleasure Grounds of Death considers the history of the rural cemetery in the United States throughout the duration of the nineteenth century as not only a critical cultural institution embedded in the formation of community and national identities, but also as major sites of contest over matters of burial reform, taste and respectability, and public behavior; issues concerning race, class, and gender; conflicts over the burial of the Civil War dead and formation of postwar memory; and what constituted the most appropriate ways to structure the landscape of the dead in a modern and progressive society. As cultural landscapes that served the needs of the living as well as the dead, rural cemeteries offer a mirror for the transformations and conflicts taking place throughout the nineteenth century in American society.

Roman merchants, artisans, and service providers faced substantial prejudice. Contemporary authors labeled them greedy, while the Roman on the street accused merchants of lying and cheating. Legally and socially, merchants were kept at arm's length from respectable society. Yet merchants were common figures in daily life, populating densely packed cities and traveling around the Mediterranean. The Reputation of the Roman Merchant focuses on the strategies retailers, craftsmen, and many other workers used to succeed, examining how they developed good reputations despite the stigma associated with their work. In a novel approach, blending social and economic history, The Reputation of the Roman Merchant considers how reputation worked as an informal institution, establishing and reinforcing traditional Roman norms while lowering the cost of doing business for individual workers. From histories and novels to inscriptions and art, this volume identifies common reputation strategies, explores how points of pride and personal accomplishments were shared with others, and explains responses to merchant activities on the small-scale. The book concludes that merchants invested heavily in their reputations as a way to set themselves apart from common, negative stereotypes without admitting that there was anything shameful about the work they did.

Authoritarianism seems to be everywhere in the political world--even the definition of authoritarianism as any form of non-democratic governance has grown very broad. Attempts to explain authoritarian rule as a function of the interests or needs of the ruler or regime can be misleading. Autocrats Can't Always Get What They Want argues that to understand how authoritarian systems work we need to look not only at the interests and intentions of those at the top, but also at the inner workings of the various parts of the state. Courts, elections, security force structure, and intelligence gathering are seen as structured and geared toward helping maintain the regime. Yet authoritarian regimes do not all operate the same way in the day-to-day and year-to-year tumble of politics. In Autocrats Can't Always Get What They Want, the authors find that when state bodies form strong institutional patterns and forge links with key allies both inside the state and outside of it, they can define interests and missions that are different from those at the top of the regime. By focusing on three such structures (parliaments, constitutional courts, and official religious institutions), the book shows that the degree of autonomy realized by a particular part of the state rests on how thoroughly it is institutionalized and how strong its links are with constituencies. Instead of viewing authoritarian governance as something that reduces politics to rulers' whims and opposition movements, the authors show how it operates--and how much what we call "authoritarianism" varies.

Before the U.S. campaign finance system can be fixed, we first have to understand why it has developed into the system we have. The nature of democracy itself, the American capitalist economic system, the content of the U.S. Constitution and how it is interpreted, the structure of our governmental institutions, the competition for governmental power, and the behavior of campaign finance actors have all played a role in shaping the system. The Fundamentals of Campaign Finance in the U.S. takes care to situate the campaign finance system in the context of the broader U.S. political and economic system. Dwyre and Kolodny offer readers a brief tour through the development of the campaign finance regulatory structure, highlighting the Supreme Court's commitment to free speech over political equality from Buckley v. Valeo (1976) through the passage of the Bipartisan Campaign Reform Act (BCRA, 2002). They also examine the driving force behind campaign finance reform--corruption--through historical, transactional, and institutional perspectives. While diving into the insufficiency of the disclosure and enforcement of campaign finance laws and calling attention to multiple federal agencies, including the Securities and Exchange Commission, the Federal Communications Commission, the Internal Revenue Service, and (principally) the Federal Election Commission, the authors show how a narrow view on campaign finance makes change difficult and why reforms often have limited success. By examining the fundamentals, Dwyre and Kolodny show the difficulties of changing a political system whose candidates have always relied on private funding of campaigns to one that guarantees free speech rights while minimizing concerns of corruption.

Transnational Philippines: Cultural Encounters in Philippine Literature in Spanish approaches literature that has been forgotten or neglected in studies on other literatures in Spanish due, in part, to the fact that today Spanish is no longer spoken in the Philippines or in Asia. However, isolation has not always been the case, and by omitting Philippine literature in Spanish from the picture of world literatures and Spanish-language literatures, the landscape of these disciplines is incomplete. Transnational Philippines studies how this literary production stemmed from its relationship with other cultures, literature, and arts. It attempts to break this literature's isolation and show how it is part of the broad literary system of literature written in Spanish. Yet Transnational Philippines also questions the constraints of traditional literary genres in order to make room for Philippine texts and other colonial and postcolonial texts, so that those texts can be taken into consideration in literary studies. Its chapters elaborate on the problems surrounding the cultural and identity relations of the Philippines with other regions and the literary nature of Philippine texts. By addressing the need for a postnational approach to Spanish-language Philippine literature, the book challenges the Spain/Latin America dichotomy existing in Spanish language literary studies and leans toward a global conception of the Hispanophone.

As shown by the success of Squid Game and Parasite, South Korea's film industry is producing films and original series for streaming services, film studios, and television stations worldwide. South Korea is now arguably considered one of the few countries outside the United States to have captivated the world's hearts and minds through pop music, TV dramas, and film. Similarly, the exponential growth in the South Korean film industry has been mirrored by a growing body of industry and film policy forums and academic conferences in both the East and the West. The South Korean Film Industry is the first detailed scholarly overview of the South Korean film industry. The thirteen chapters discuss topics from short films to popular television series that have engaged global audiences. Contributors explore the major changes in South Korean film making, marketing, and in the international growth and popularity of South Korean films. By bringing together a wide range of academic specialists on the South Korean film industry, The South Korean Film Industry situates the current scholarship on South Korean cinema within the ongoing theoretical debates in contemporary global film studies. This volume offers invigorating discussions of the South Korean film industry, as well as its economic, political, and artistic impact on global, local, and regional film industries and cultures.

As the 20th century dawned, authors, artists, and filmmakers flocked to cities like Paris and Berlin for a chance to experience a bustling urban life and engage with other artists and intellectuals. Among them were German-speaking authors and filmmakers such as Harry Graf Kessler, Rainer Maria Rilke, August Endell, Alfred Döblin, Else Lasker-Schüler, Segundo de Chomón, and the brothers Max and Emil Skladanowsky. In their writing and artistic work from that period, they depicted the perpetual influx of stimuli caused by urban life--including hordes of pedestrians, bustling traffic, and a barrage of advertisements--as well as how these encounters repeatedly paralleled their experiences of watching early twentieth-century dance performances by Loïe Fuller, Ruth St. Denis, and Vaslav Nijinsky. The convergence these writers and filmmakers saw between the unexpected encounters during their urban strolls and experimental dance performances led to writings that interwove the two motifs. Drawing on cultural, literary, dance, performance, and queer studies, Dancing with the Modernist City analyzes an array of material from 1896 to 1914--essays, novels, short stories, poetry, newspaper articles, photographs, posters, drawings, and early film. It argues that these writers and artists created a genre called the metropolitan dance text, which depicts dancing figures not on a traditional stage, but with the streets, advertising pillars, theaters, cafes, squares, and even hospitals of an urban setting. Breaking away from the historically male, heteronormative view, this posthumanist mode of writing highlights the visual and episodic unexpectedness of urban encounters. These literary depictions question traditional conceptualizations of space and performance by making the protagonist and the reader feel like they embody the dancer and the movement. In doing so, they upset the conventional depictions of performance and urban spaces in ways paralleling modern dance.

Tracing the emergence of what the media industries today call transmedia, story worlds, and narrative franchises, Legal Stories provides a dual history of copyright law and narrative-based media development between the Copyright Act of 1909 and the Copyright Act of 1976. Drawing on archival material, including legal case files, and employing the principles of actor-network theory, Gregory Steirer demonstrates how the meaning and form of narrative-based property in the twentieth century was integral to the letter and practice of intellectual property law during this time. Steirer's expansive view of intellectual property law encompasses not only statutes and judicial opinions, but also the everyday practices and productions of authors, editors, fans, and other legal laypersons. The result is a history of the law as improvisatory and accident-prone, taking place as often outside the courtroom as inside, and shaped as much by laypersons as lawyers. Through the examination of influential legal disputes involving early properties such as Dashiell Hammett's Sam Spade, H. P. Lovecraft's Cthulhu Mythos, and Robert E. Howard's Conan the Barbarian, Steirer provides a ground's eye view of how copyright law has operated and evolved in practice.

This collection, for the first time, explores women's self-conceptions and representations of women's and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, "New Man," viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by--much belatedly--including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.

Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women's playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.

"It is with no desire or hope to promote a correct or superior form of textuality, with no desire to correct a so-called interpretive or editorial textual abuse, nor any attempt to prevent anyone from doing anything imaginable with texts or books that I have undertaken this book. . . ." So writes Peter Shillingsburg in his introduction to this series of meditations on the possibilities of deriving "meaning" from the texts we read. Shillingsburg argues that as humans we are and always will be interested in the past, in what was meant, in what was revealed inadvertently by a text--and that is all to the good. But we learn more and can compare notes better when we understand the principles that govern the ways we read. Resisting Texts approaches crucial questions about the practice of textual editing and literary criticism by posing questions in the form "If we take such and such to be the goal of our reading, then what will follow from that assumption?" With humor and a lively imagination, Shillingsburg takes the reader on a fresh theoretical investigation of communication, understanding and misunderstanding, and textual satisfactions, drawing examples from Thackeray, Wordsworth, Melville, and others. Resisting Texts will appeal to all who enjoy the varieties of critical approaches to the written word. Peter L. Shillingsburg is Professor of English, University of North Texas.

An examination of what binds poetic endeavor into a singular, shining whole

Art's power to challenge inequities and build inclusive dialogues

Evaluating the rise of podcasting and the storytelling trends that emerged

When Romans applied the term "parasite" to contemporaries in dependent circumstances, or clientes, they were evoking one of the stock characters of ancient Greek comedy. In the Roman world the parasite was moved out of his native genre into the literatures of invective and social criticism, where his Greek origins made him a uniquely useful transmitter of Roman perceptions. Whenever the figure of the parasite is used to mask a person in Roman society, we know that an effort of interpretation is underway. The fit between the mask and its wearer is in the eyes of the beholder, and in Rome the mask seemed to fit people in many different situations: entrepreneurs, tax-farmers, lawyers, female companions, philosophers, and poets.In The Mask of the Parasite, Cynthia Damon maintains that the parasite of Latin literature is a negative reflection of the cliens. In Part One she assembles a composite picture of the comic parasite using as evidence fragments of Greek comedy, works from Greek writers of the imperial period whose works reflect the comic tradition, and the ten complete plays of Roman comedy in which a parasite appears. In parts two and three she examines the ways in which Cicero and the satirists use the figure of the parasite: Cicero in belittling his opponents in court, Horace and Martial in creating a negative foil for the poeta cliens, Juvenal in painting contemporary patron/client relationships as morally and spiritually bankrupt. The Mask of the Parasite is a fascinating study of the intersection of literature and society in ancient Rome. However, neither the parasite nor patronage is confined to the Roman world. Students of classical studies as well as students of literature and cultural studies will find this to be a work of utmost importance in understanding these complex issues of human interaction.Cynthia Damon is Assistant Professor of Classics, Amherst College