Shylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his anti-Semitic tormentors, is one of Shakespeare’s most complex and idiosyncratic characters. With his unsettling eloquence and his varying voices of protest, play, rage, and refusal, Shylock remains a source of perennial fascination. What explains the strange and enduring force of this character, so unlike that of any other in Shakespeare’s plays? Kenneth Gross posits that the figure of Shylock is so powerful because he is the voice of Shakespeare himself. Marvelously speculative and articulate, Gross’s book argues that Shylock is a breakthrough for Shakespeare the playwright, an early realization of the Bard’s power to create dramatic voices that speak for hidden, unconscious, even inhuman impulses—characters larger than the plays that contain them and ready to escape the author’s control. Shylock is also a mask for Shakespeare’s own need, rage, vulnerability, and generosity, giving form to Shakespeare’s ambition as an author and his uncertain bond with the audience. Gross’s vision of Shylock as Shakespeare’s covert double leads to a probing analysis of the character’s peculiar isolation, ambivalence, opacity, and dark humor. Addressing the broader resonance of Shylock, both historical and artistic, Gross examines the character’s hold on later readers and writers, including Heinrich Heine and Philip Roth, suggesting that Shylock mirrors the ambiguous states of Jewishness in modernity. A bravura critical performance, Shylock Is Shakespeare will fascinate readers with its range of reference, its union of rigor and play, and its conjectural—even fictive—means of coming to terms with the question of Shylock, ultimately taking readers to the very heart of Shakespeare’s humanizing genius.
Chicago University Press, 2006
0226309770
The Lingua Ignota, "brought forth" by the twelfth-century German nun Hildegard of Bingen, provides 1012 neologisms for praise of Church and new expression of the things of her world. Noting her visionary metaphors, her music, and various medieval linguistic philosophies, Higley examines how the "Unknown Language" makes arid signifiers green again. This text, however, is too often seen in too narrow a context: glossolalia, angelic language, secret code. Higley provides an edition and English translation ofits glosses in the Riesencodex (with assistance from the Berlin MS) , but also places it within a history of imaginary language making from medieval times to the most contemporaryprojectsin efforts to uncover this woman's bold involvement in an intellectual and creative endeavor that spans centuries.
Palgrave Macmillan, 2007
1403976732
Poetry is the sound of language organized in lines.” James Longenbach opens this provocative book with that essential statement. Through a range of examples—from Shakespeare and Milton to Ashbery and Glück—Longenbach describes the function of line in metered, rhymed, syllabic, and free-verse poetry. The Art of the Poetic Line is a vital new resource by one of America’s most important critics and most engaging poets.
Graywolf Press, 2007
1555974953
Draft of a Letter is a book about belief—not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems discover infinitude in the most familiar places. The revelation is disorienting and, as a result, these poems talk to themselves, revise themselves, fashioning a dialogue between self and soul that opens outward to include other voices, lovers, children, angels, and ghosts. For James Longenbach, great distance makes the messages we send sweeter. To be divided from ourselves is never to be alone. “If the kingdom is in the sky,” says the body to the soul, “Birds will get there before you.” “In time,” says the awakening soul, “I liked my second / Body better / Than the first.” To live, these poems insist, is to arise every day to the strange magnificence of the people and places we thought we knew best. Draft of a Letter is an unsettled and radiant paradiso, imagined in the death-shadowed, birth-haunted middle of a long life.
University of Chicago Press, 2007
226492680
From Thomas Jefferson to John Rawls, justice has been at the center of America’s self-image and national creed. At the same time, for many of its peoples-from African slaves and European immigrants to women and the poor-the American experience has been defined by injustice: oppression, disenfranchisement, violence, and prejudice.
In Identity and the Failure of America, John Michael explores the contradictions between a mythic national identity promising justice to all and the realities of a divided, hierarchical, and frequently iniquitous history and social order. Through a series of insightful readings, Michael analyzes such cultural moments as the epic dramatization of the tension between individual ambition and communal complicity in Moby-Dick, attempts to effect social change through sympathy in the novels of Lydia Marie Child and Harriet Beecher Stowe, Ralph Waldo Emerson’s antislavery activism and Frederick Douglass’s long fight for racial equity, and the divisive figures of John Brown and Nat Turner in American letters and memory.
Focusing on exemplary instances when the nature of the United States as an essentially conflicted nation turned to force, Michael ultimately posits the development of a more cosmopolitan American identity, one that is more fully and justly imagined in response to the nation’s ethical failings at home and abroad.
University of Minnesota Press, 2008
0816651442
Music videos are available on more channels, in more formats, and in more countries than ever before. While MTV—the network that introduced music video to most viewers—is moving away from music video programming, other media developments signal the longevity and dynamism of the form. Among these are the proliferation of niche-based cable and satellite channels, the globalization of music video production and programming, and the availability of videos not just on television but also via cell phones, DVDs, enhanced CDs, PDAs, and the Internet. In the context of this transformed media landscape, Medium Cool showcases a new generation of scholarship on music video. Scholars of film, media, and music revisit and revise existing research as they provide historically and theoretically expansive new perspectives on music video as a cultural form.
The essays take on a range of topics, including questions of authenticity, the tension between high-art influences and mass-cultural appeal, the prehistory of music video, and the production and dissemination of music videos outside the United States. Among the thirteen essays are a consideration of how the rapper Jay-Z uses music video as the primary site for performing, solidifying, and discarding his various personas; an examination of the recent emergence of indigenous music video production in Papua New Guinea; and an analysis of the cultural issues being negotiated within Finland’s developing music video industry. Contributors explore precursors to contemporary music videos, including 1950s music television programs such as American Bandstand, Elvis’s internationally broadcast 1973 Aloha from Hawaii concert, and different types of short musical films that could be viewed in “musical jukeboxes” of the 1940s and 1960s. Whether theorizing music video in connection to postmodernism or rethinking the relation between sound and the visual image, the essays in Medium Cool reveal music video as rich terrain for further scholarly investigation.
Contributors. Roger Beebe, Norma Coates, Kay Dickinson, Cynthia Fuchs, Philip Hayward, Amy Herzog, Antti-Ville Kärjä, Melissa McCartney, Jason Middleton, Lisa Parks, Kip Pegley, Maureen Turim, Carol Vernallis, Warren Zanes
Duke University Press, 2007
082234162X
An anthology of short fiction by the critically acclaimed author of Various Antidotes explores the underlying complexities and tensions of seemingly ordinary moments in life, as it follows the stories of a young woman in Jazz Age New York involved in an unlikely relationship with her boss at Woolworth's and a young businessman whose car breaks down in a country town.
Back Bay Books, 2006
0316013455
On a summer day in 1946 Sally Werner, the precocious young daughter of hardscrabble Pennsylvania farmers, secretly accepts her cousin's invitation to ride his new motorcycle. Like so much of what follows in Sally's life, it's an impulsive decision with dramatic and far-reaching consequences. Soon she abandons her home to begin a daring journey of self-creation, the truth of which she entrusts only with her granddaughter and namesake, six decades later. But when young Sally's father—a man she has never known—enters her life and offers another story altogether, she must uncover the truth of her grandmother's secret history.
Boldly rendered and beautifully told, in FOLLOW ME Joanna Scott has crafted a paean to the American tradition of re-invention and a sweeping saga of timeless and tender storytelling.
Little, Brown, 2009
0316051651
Deeply moving. . . . Joanna Scott brilliantly captures war as seen through the innocence of a child." –Bookpage
Adriana Nardi is only 10 years old when Allied forces occupy her lush island home during World War II, plaguing the quiet Italian village with violence and uncertainty. Amdu is a Senegalese soldier who abandons his comrades and befriends Adriana after witnessing an unspeakable act that has far-reaching repercussions. Decades later, on a commuter train bound for Penn Station, 60-year-old Adriana revisits her emories of the war and her doomed relationship with Amdu, even as a present crisis threatens her life.
Back Bay Books. 2008
0316018899
This Companion forms an accessible introduction to the life and work of Thomas Jefferson, third President of the United States and author of the Declaration of Independence. Essays explore Jefferson’s political thought, his policies towards Native Americans, his attitude to race and slavery, as well as his interests in science, architecture, religion and education. Contributors include leading literary scholars and historians; the essays offer up to date overviews of his many interests, his friendships and his legacy. Together, they reveal his importance in the cultural and political life of early America. At the same time these original essays speak to abiding modern concerns about American culture and Jefferson’s place in it. This Companion will be essential reading for students and scholars of Jefferson, and is designed for use by students of American literature and American history.
Cambridge University Press, 2008
0521686976
In 1950, Vin Scully broadcast his first major league baseball game for the then-Brooklyn Dodgers. Nearly sixty years later he still invites a listener to “pull up a chair,” completing a record fifty-ninth consecutive year of play-by-play.
Recruited and mentored by the legendary Red Barber, the New York-born Scully moved with the Dodgers to Los Angeles in early 1958. His instantly recognizable voice has described players from Duke Snider to Orel Hershiser to Manny Ramirez, with hundreds in between.
At one time or another, Scully has aired NBC Television’s Game of the Week, twelve All-Star Games, eighteen no-hitters, twenty-five World Series, and network football, golf, and tennis. He has made every sportscasting Hall of Fame; received a Lifetime Emmy Achievement award and a Star on the Hollywood Walk of Fame; and been voted “most memorable [L.A. Dodgers] franchise personality.” In 2000, the American Sportscasters Association named Scully the Sportscaster of the 20th Century.
The first biography of Vin Scully is long overdue. Curt Smith—to USA Today, “The voice of authority on baseball broadcasting”—is the ideal man to write it. Scully opens each broadcast by wishing listeners, “A very pleasant good afternoon.” Pull Up a Chair will provide a reader with the same.
Potomac Books, 2009
1597974240
Russ Hodges's frantic pronouncement at Bobby Thomson's "Shot Heard 'Round the World": "The Giants win the pennant! The Giants win the pennant!" and Jack Buck's incredulous remark after Kirk Gibson's heroic home run in the 1988 World Series: "I don't believe what I just saw!" are just a couple examples. The sometimes downright hysterical commentaries of broadcasters very often become more memorable than even the games they describe. Though countless studies have weighed the merits of our great players, none has assessed the virtues of the men who turn diving catches and soaring home runs into the stuff of myth. In The Voices of Summer, Curt Smith has compiled a list of 101 classic announcers—from national celebrities to local favorites, overlooked giants to upcoming stars—in search of the greatest baseball broadcaster of all time. From the poetic reflections of Dick Enberg to the Falstaffian frenzy of Harry Caray, Smith answers the timeless questions: Was Mel Allen better than Ernie Harwell? Does Joe Buck compare to his legendary dad? Which of today's young broadcasters really matches the all-time greats? Irreverent, authoritative, and uncommonly addictive, this book will be the definitive guide to baseball announcing for any and all baseball fans.
Da Capo Press, 2005
0786714468
