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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.

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.

Global Dilemmas documents the cultural debates of a key community of the British Empire from the 1840s to 1925. It completes the account of its printed legacy as pioneer of Reformation, Parliamentary Reform, and Industrial Revolution begun in A Kingdom in Two Parishes and continued in Classic Soil.

This book deepens our understanding of the human capacity to produce and share meaning by exploring the intersection of American pragmatism and European philosophy in the conscious experience of communication and culture, highlighting the contributions of C. S. Peirce, John Dewey, Gregory Bateson, and Pierre Bourdieu to communicology.

The book is an against-the-grain study of Primo Levi's lifelong concerns about agency, both personal and political. It moves from fresh readings of his lesser-known short story and novels to a major reinterpretation of the testimonial works at the center of his legacy.

Andrew Marvell, Sexual Orientation, and Seventeenth-Century Poetry examines the poet's major works to unmask English Interregnum/Restoration attitudes on sexuality with a view of understanding Marvell's own sexuality. Klawitter explicates the poet's lyric pieces, major and minor, against a background of modern theories of human sexuality.

This work analyzes the New Ethnicity of the 1970s as a way of understanding Americas political turn to the right in that decade. An upsurge of vocal ethnic consciousness among second-, third-, and fourth-generation Southern and Eastern Europeans, the New Ethnicity simultaneously challenged and emulated earlier identity movements such as Black Power.The movement was more complex than the historical memory of racist, reactionary white ethnic leaders suggests. The movement began with a significant grassroots effort to gain more social welfare assistance for near poor white ethnic neighborhoods and ease tensions between the working-class African Americans and whites who lived in close proximity to one another in urban neighborhoods. At the same time, a more militant strain of white ethnicity was created by urban leaders who sought conflict with minorities and liberals.The reassertion of ethnicity necessarily involved the invention of myths, symbols, and traditions, and this process actually served to retard the progressive strain of New Ethnicity and strengthen the position of reactionary leaders and New Right politicians who hoped to encourage racial discord and dismantle social welfare programs. Public intellectuals created a mythical white ethnic who shunned welfare, valued the family, and provided an antidote to liberal elitism and neighborhood breakdown. Corporations and publishers embraced this invented ethnic identity and codified it through consumption. Finally, politicians appropriated the rhetoric of the New Ethnicity while ignoring its demands. The image of hard-working, self-sufficient ethnics who took care of their own neighborhood problems became powerful currency in their effort to create racial division and dismantle New Deal and Great Society protections.

Habermas's Public Sphere: A Critique systematically analyzes the strengths and weaknesses of Habermas's classic public sphere concept to reinvigorate it for evaluating the liberal promises and realities of modern societies.

This book analyzes the process of cultural production and consumption in late-eighteenth- and nineteenth-century Italy and the ways in which authors, composers, publishers, performers, journalists, and editors engage with the anxieties and aspirations of their diverse audiences.

This book explores the many different ways that we can understand the concept of "literary influence," considering both the pressures exerted upon a work at the time of its creation as well as the pressures that continue to be exerted upon it and that it in turn exerts upon other works in the course of its literary or performance history.

The book is a work of non-fiction. The book is a historical analysis of the evolution of a uniquely American constitutionalism that began with the original English royal charters for the exploration and exploitation of North America. When the U.S. Constitution was written in 1787, the accepted conception of a constitution was that of the British constitution, upon which the colonists had relied in asserting their rights with respect to the imperium, comprised of ancient documents, parliamentary enactments, administrative regulations, judicial pronouncements, and established custom. Of equal significance, the laws comprising the constitution did not differ from other statutes and as a consequence, there was no law endowed with greater sanctity than other legislative enactments.In framing the revolutionary state constitutions following the retreat of the crown governments in the colonies, as well as the later federal Constitution, the Revolutionaries fundamentally reconceived a constitution as being the single authoritative source of fundamental law that was superior to all other statutes, regulations, and judicial decisions, that was ratified by the states and that was subject to revision only through a formal amendment process. This new constitutional conception has been hailed as the great innovation of the revolutionary period, and deservedly so.This American constitutionalism had its origins in the now largely overlooked royal charters for the exploration of North America beginning with the charter granted to Sir Humphrey Gilbert by Elizabeth I in 1578. The book follows the development of this constitutional tradition from the early charters of the Virginia Companies and the covenants entered of the New England colonies, through the proprietary charters of the Middle Atlantic colonies. On the basis of those foundational documents, the colonists fashioned governments that came to be comprised not only of an executive, but an elected legislature and a judiciary. In those foundational documents and in the acts of the colonial legislatures, the settlers sought to harmonize their aspirations for just institutions and individual rights with the exigencies and imperatives of an alien and often hostile environment. When the colonies faced the withdrawal of the crown governments in 1775, they drew on their experience, which they formalized in written constitutions. This uniquely American constitutional tradition of the charters, covenants and state constitutions was the foundation of the federal Constitution and of the process by which the Constitution was written and ratified a decade later.