Bøger udgivet af Fairleigh Dickinson University Press

This book examines vampires as an international phenomenon, not restricted to the original folk character, the literary vampire, or twentieth-century film versions. Instead, the authors reshape the legend into a post-modern image that is psychologically and socially relevant while retaining elements of folklore mixed with a hint of science fiction.

This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one.

During the late nineteenth and early twentieth centuries, a host of journalists, ministers, medical doctors, businessmen, lawyers, labor leaders, politicians, and others called for an assault on poverty, slums, disreputable boarding houses, alcoholism, prostitution, sweatshop conditions, inadequate educational facilities, and other social evils. Although they represented an array of political positions and advocated a range of strategies to deal with what they deemed problems, historians have come to term this impulse urban reform or the urban reform movement. This book considers the history of reform ideology in Canada. It does so by considering four leading reformers living in what might be described as the most Canadian of Canadian cities, Winnipeg, Manitoba. While the book engages in discussions/debates surrounding the particular individuals it considers, its more general argument is that to understand the history of reform in Canada requires viewing reformers as simultaneously experiencing and responding to two basic phenomena simultaneously. It requires understanding them as confronting the polarizing tendencies, exploitation, and sometimes grinding poverty that was central to the economic order they (often unwittingly) helped to impose in northern North America. It also, however, requires seeing them as fundamentally shaped by the process and legacy of the dispossession of Aboriginal peoples, and the changing nature of Aboriginal-settler relations that were also central to the development of Canada.

This is a memoir of the early years of a well-known Chicano scholar whose work and activism were motivated by his Mormon faith. The narrative follows him as an immigrant boy in San Antonio, Texas, who finds religion, goes to segregated schools, participates in the first major school boycott of the modern era in Texas, goes to Viet Nam where he heads an emergency room in the Mekong Delta, and then to college where he becomes involved in the Chicano Movement. Throughout this time he juggles, struggles, and comes to terms with the religious principles that provide him the foundation for his civil rights activism and form the core of his moral compass and spiritual beliefs. In the process he pushes back against those religious traditions and customs that he sees as contrary to the most profound aspects of being a Mormon Christian. This memoir is about activism and religion on the ground and reflects the militancy of people of color whose faith drives them to engage in social action that defies simple political terminology.

Irenaeus, Joseph Smith, and God-Making Heresy seeks both to demonstrate the salience of ';heresy' as a tool for analyzing instances of religious conflict far beyond the borders of traditional historical theology and to illuminate the apparent affinity for deification exhibited by some persecuted religious movements. To these ends, the book argues for a sociologically-informed redefinition of heresy as religiously-motivated opposition and applies the resulting concept to the historical cases of second-century Christians and nineteenth-century Mormons. Ultimately, Irenaeus, Joseph Smith, and God-Making Heresy is a careful application of the comparative method to two new religious movements, highlighting the social processes at work in their early doctrinal developments.

These essays investigate the political, cultural, and religious mores of the time and how these societal factors may have pressured or influenced Shakespeare and his work. Hamlet speaks of "the very age and body of the time his form and pressure," a discussion that challenges the reader to decipher the links between cultural history and their manifestations in various forms and how they give us glimpses of Shakespeare, the man behind his works.

Despite hundreds of millions of visitors each year, zoos have remained outside of the realm of philosophical analysis. This lack of theoretical examination is interesting considering the paradoxical position within which a zoo is situated, being a space of animal confinement as well as a site that provides valuable tools for species conservation, public education, and entertainment. Why Do We Go to the Zoo? argues that the zoo is a legitimate space of academic inquiry. The modes of communication taking place at the zoo that keep drawing us back time and time again beg for a careful investigation. In this book, the meaning of the zoo as communicative space is explored.This book relies on the phenomenological method from Edmund Husserl and a rhetorical approach to examine the interaction between people and animals in the zoo space. Phenomenology, the philosophy of examining the engaged everyday lived experience, is a natural method to use in the project. Despite its rich history and tradition it is interesting that there are very few books explaining ';how to do' phenomenology. Why Do We Go to the Zoo? provides a detailed account of how to actually conduct a phenomenological analysis.The author spent thousands of hours in zoos watching people and animals interact as well as talking with people both formally and informally. This book asks readers to bracket their preconceptions of what goes on in the zoo and, instead, to explore the meaning of powerful zoo experiences while reminding us of the troubled history of zoos.

Ten essays provide a new approach to the work of the most popular American poet of all time. The essays, written by a new generation of Longfellow scholars, cover the entire range of Longfellow's work, from the early poetry to the wildly successful epics of his middle period (Evangeline, The Song of Hiawatha) to his Chaucerian collection of stories published after the Civil War, Tales of a Wayside Inn. Many of the essays rely on unpublished archival sources from the Longfellow collections at the Longfellow House-George Washington National Historic Site and at the Houghton Library in Cambridge, Massachusetts.

This book examines the close relationship between the portrayal of foreigners and the delineation of culture and identity in antebellum American writing. Both literary and historical in its approach, this study shows how, in a period marked by extensive immigration, heated debates on national and racial traits, during a flowering in American letters, encouraged responses from American authors to outsiders that not only contain precious insights into nineteenth-century America's self-construction but also serve to illuminate our own time's multicultural societies. The authors under consideration are alternately canonical (Emerson, Hawthorne, Melville), recently rediscovered (Kirkland), or simply neglected (Arthur). The texts analyzed cover such different genres as diaries, letters, newspapers, manuals, novels, stories, and poems.

This book explores the oneiric in Italian cinema from filmic representations and visualizations of dreams, nightmares, hallucinations, and dream-like and hypnotic states, to dreams as cinematic allegories and metaphors and the theoretical frameworks applied to the investigation of this relationship.

This volume foments exploration of how Spanish cities, big and small, are experiencing transformation in architecture, popular customs and festivals, economics, family dynamics, and social and political agency through the arrival of new residents from around the globe.

The First Great Awakening, an unprecedented surge in Protestant Christian revivalism in the Eighteenth Century, sparked enormous of controversy at the time and has been a source of scholarly debate ever since. Few historians have sought to write a synthetic history of the First Great Awakening, and in recent decades it has been challenged as having happened at all, being either an exaggeration or an ';invention.' The First Great Awakening expands the movement's geographical, theological, and sociopolitical scope. Rather than focus exclusively on the clerical elites, as earlier studies have done, it deals with them alongside ordinary people, and includes the experiences of women, African Americans, and Indians as the observers and participants they were. It challenges prevailing scholarly opinion concerning what the revivals were and what they meant to the formation of American religious identity and culture.Cover image: NPG 131, George Whitefield by John Wollaston, oil on canvas, circa 1742. National Portrait Gallery, London

This book is the first systematic study in decades of Malory's development of his characters in the Morte Darthur. Focusing on sixteen key figures in the most important medieval English treatment of the Arthurian saga, it examines Malory's thematic characterization of individual rulers, knights, and ladies in keeping with the twin trajectories of his history of the Round Table and fifteenth-century English history. Looking at how Malory develops his characters as exemplars of kingship, knighthood, and womanhood, the book traces the medieval author's exploration of the values constituting chivalry as embodied in individual characters, a process that enabled him to formulate a vision of those values for his own troubled period of the Wars of the Roses. This book further explores the contribution Malory's art of characterization makes to the literary and aesthetic power of the Morte Darthur. Each chapter's focus on individual characters makes the book not only an integrated thematic overview, but also a useful reference for focused study of particular Arthurian figures. As such, the book is designed to meet the interests and needs of both professional scholars and students of Arthurian and medieval literature.

Yeats, Shakespeare, and Irish Cultural Nationalism examines Yeats's writing on Shakespeare in the context of his work on behalf of the Irish Literary Revival. While Shakespeare's verse drama provides a source of inspiration for Yeats's poetry and plays, Yeats also writes about Shakespeare in essays and articles promoting the ideals of the Revival, and on behalf of Irish literary nationalism. These prose pieces reveal Yeats thinking about Shakespeare's art and times throughout his career, and taken together they offer a new perspective on the contours of Yeats's cultural politics. This book identifies three stages of Yeats's cultural nationalism, each of which appropriates England's national poet in an idiosyncratic manner, while reflecting contemporary trends in Shakespeare reception. Thus Yeats's fin-de-siecle Shakespeare is a symbolist poet and folk-artist whose pre-modern sensibility detaches him from contemporary English culture and aligns him with the inhabitants of Ireland's rural margins. Next, in the opening decade of the twentieth century, following his visit to Stratford to see the Benson history cycle, Yeats's work for the Irish National Theatre adopts an avant-garde, occultist stagecraft to develop an Irish dramatic repertoire capable of unifying its audience in a shared sense of nationhood. Yeats writes frequently about Shakespeare during this period, locating on the Elizabethan stage the kind of transformational emotional affect he sought to recover in the Abbey Theatre. Finally, as Ireland moves towards political independence, Yeats turns again to Shakespeare to register his disappointment with the social and cultural direction of the nascent Irish state. In each case, Yeats's thinking about Shakespeare responds to the remarkable conflation of aesthetic and religious philosophies constituting his cultural nationalism, thus making a unique case of Shakespearean reception. Taken together, Yeats's writings deracinate Shakespeare, and so contribute significantly to the process by which Shakespeare has come to be seen as a global artist, rather than a specifically English possession.

The subject of this book is the controversyone of the oldest in philosophyabout whether it is possible to have freedom in the face of universal causal determinism. Of course, it is crucial to consider what such freedom might meanin particular, there is an important distinction between libertarian ';free will' and the more naturalistic view of freedom taken by compatibilists.This book provides background for laypersons through a historical survey of earlier views and some discussion and criticism of various contemporary views. In particular, it states and discusses the Consequence Argument, the most important argument challenging human freedom in recent literature. The main feature of the book is the argument for a solution: one that is within the compatibilist tradition, is naturalistic and in accord with findings of science and principles of engineering control theory. Some particular features of the offered solution include an argument for a close tie between freedom and controlwhere what is meant is the voluntary motion control of our bodies, and this ';control' is understood naturalistically, by which the author means in accordance with concepts of engineering control theory and modern science. Such concepts are used to explain and demarcate the concept of ';control' being used. Then it develops a working conception of what rationality is (since what is crucial is freedom in choice, and rationality is crucial to that), by reviewing texts on the subject by three expert authors (namely, Nathanson, Nozick, and Searle). It is argued that rationality is a species of biological learning control that involves deliberation; and that our freedom in choice is greatest when our choices are most rational.

This book examines American literary texts whose portrayal of American identity involves the incorporation of a foreign body as the precondition for a comprehensive understanding of itself. This nexus of disconcerting textual dynamics arises precisely insofar as both citizen/subject and national identity depend upon a certain alterity, an other which constitutes the secondary term of a binary structure. American identity thus finds itself ironically con-fused and interwoven with another culture or another nation, double-crossed in the enactment of itself. Individual chapters are devoted to Benjamin Franklin, Washington Irving, Frederick Douglass, Louisa May Alcott, Nathaniel Hawthorne, and Mark Twain.

Dealing with Thomas Paines Common Sense (1776), John Trumbulls MFingal (1776-82), Philip Freneaus The British-Prison Ship (1781), J. Hector St. John de Crevecoeurs Letters from an American Farmer (1782), and Washington Irvings Rip Van Winkle (1819-20), Steven Blakemore breaks new ground in assessing the strategies of subversion and intertextuality used during the American Revolution. Blakemore also crystallizes the historical contexts that link these works together contexts that have been missed or overlooked by critics and scholars. The five works additionally illuminate issues of history (The Norman Conquest, the English Civil War, and the French Revolution) and gender as they impinge on American-revolutionary discourse. The result is five new readings of significant revolutionary-era works that suggest fruitful entries into other literatures of the Revolution. Blakemore demonstrates the nexus between literature and history in the revolutionary era and how it created an intertextual dialogue in the formation of the first postcolonial critiques of the British Empire.

This collection of essays investigates the various connections between Willa Cather's fiction and her aesthetic beliefs and practices.

The essays in this volume explore how Franklin's political and philosophical thinking was informed, while examining the deep appeal that Franklin has had on generation after generation of Americans.

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.

Known by mobsters as ';the man who couldn't be bought,' Brendan Byrne led New Jersey into a new era when he won the state's gubernatorial election by a landslide in the wake of political corruption scandals. A former prosecutor and judge, Byrne was soon condemned as ';one-term Byrne,' the inept politician who few thought would risk the humiliation of standing for a second term. Yet Byrne surprised both friend and foe alike by pulling off the state's most remarkable political comeback, winning re-election and leaving a legacy of preserving the vast resources of the Pinelands, enacting the state's first income tax and comprehensive school financing reform, developing the Meadowlands, approving casino gambling in Atlantic City, and initiating strong environmental controls to combat pollution.

Shakespeare's Style presents a detailed consideration of aspects of Shakespeare's writing style in his plays. Each chapter offers a detailed discussion about a single feature of style in a chosen Shakespeare play. Topics examine include: a discussion of a key image or images, both verbal and nonverbal; consideration of the way a character is put together; reflection of the changing audience response to a character; and audience response to an account of the speech rhythms of a single play. This book will be of interest to audiences who see Shakespeare's plays, readers of the printed page, and students aiding them in concentrating on the significant ways that Shakespeare expresses himself.

This book deals with matters of embodiment and meaningin other words, the essential components of what Continental thought, since Heidegger, has come to consider as ';communication.' A critical theme of this book concerns the basic tenet that consciousness of one's Self and one's body is only possible through human relationship. This is, of course, the phenomenological concept of intersubjectivity. But rather than let this concept remain an abstraction by discussing it as merely a function of language and signs, this work attempts to explicate it empirically. That is, it discusses the manner in whichfrom infancy to childhood and adolescence (and the dawning of our sexual identities) through physical maturity and old agewe come to experience the ecstasy of what Merleau-Ponty has so poetically termed ';flesh.'It is rarely clear what someone means when she or he uses the word ';communication.' An important objective of this book is, thus, to advance understanding of what communication is. In academic discourse, ';communication' has come to be understood in a number of contextssome conflicting and overlappingas a process, a strategy, an event, an ethic, a mode or instance of information, or even a technology. In virtually all of these discussions, the concept of communication is discussed as though the term's meaning is well known to the reader. When communication is described as a process, the meaning of the term is held at an operational levelthat is, in the exchange of information between one person and another, what must unambiguously be inferred is that ';communication' is taking place. In this context, information exchange and communication become functionally synonymous. But as a matter of embodied human psychological experience, there is a world of difference between them. As such, this book attempts to fully consider the question of how we experience the event of human communication. The author offers a pioneering study that advances the raison d'tre of the emergent field of ';communicology,' while at the same time offering scholars of the human sciences a new way of thinking about embodiment and relational experience.

Race and Hegemonic Struggle in the United States: Pop Culture, Politics, and Protest is a collection of essays that draws on concepts developed by Antonio Gramsci to examine the imagining of race in popular culture productions, political discourses, and resistance rhetoric.

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

The essays in this volume explore how Franklin's political and philosophical thinking was informed, while examining the deep appeal that Franklin has had on generation after generation of Americans.

The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight tells the remarkable story of Moses Ezekiel and his rise to international fame as an artist in late nineteenth-century Italy. Sephardic Jew, homosexual, Confederate soldier, Southern apologist, opponent of slavery, patriot, expatriate, mystic, Victorian, dandy, good Samaritan, humanist, royalist, romantic, reactionary, republican, monist, dualist, theosophist, freemason, champion of religious freedom, proto-Zionist, and proverbial Court Jew, Moses Ezekiel was a riddle of a man, a puzzle of seemingly irreconcilable parts. Knighted by three European monarchs, courted by the rich and famous, Moses Ezekiel lived the life of an aristocrat with rarely a penny to his name. Making his home in the capacious ruins of the Baths of Diocletian in Rome, he quickly distinguished himself as the consummate artist and host, winning international fame for his work and consorting with many of the lions and luminaries of the fin-de-siecle world, including Giuseppe Garibaldi, Queen Margherita, Franz Liszt, Richard Wagner, Sarah Bernhardt, Gabriele D'Annunzio, Eleonora Duse, Annie Besant, Clara Schumann, Sir Lawrence Alma-Tadema, Alphonse Daudet, Mark Twain, mile Zola, Robert E. Lee, Augustus Saint-Gaudens, and Isaac Mayer Wise. In a city besieged with eccentrics, he, a Southern Jewish homosexual sculptor, was outstanding, an enigma to those who knew him, a man at once stubbornly original and deeply emblematic of his times. According to Stanley Chyet in his introduction to Ezekiel's memoirs, ';The contemporary European struggle between liberalism and reaction, between modernity and feudalism, between the democratic and the hierarchical is rather amply refracted in Ezekiel's account of his life in Rome.' Indeed so many of the contentious cultural, political, artistic, and scientific struggles of the age converged in the figure of this adroit and prepossessing Jew.

This book examines the significance of cabins and other temporary seasonal dwellings as important symbols in modern Norwegian cultural and literary history. The author uses Michel Foucault's notion of the ';heterotopia'an actual place that also functions imaginatively as a kind of real-world utopiato examine how cabins have signified differently during successive periods, from an Enlightenment trope of simplicity and moderation, through the rise of tourism, into a period of increasing individualism and alienation from nature. For each period discussed, the author relates a widely recognized real world cabin to a cluster of thematically related literary texts from a wide variety of genres. Cabins in Modern Norwegian Literature considers both central canonical works, such as Camilla Collett's The District Governor's Daughters, Bjrnstjerne Bjrnson's Synnve Solbakken, Henrik Ibsen's When We Dead Awaken, and Knut Hamsun's The Growth of the Soil, as well as less widely known literary works and texts from marginal genres such as hunting narratives and crime fiction. In addition, the book contains analyses of a few key films from the contemporary period that also activate the cabin as a motif. The central argument is that while Norwegians today tend to think of cabin culture as essentially unchanging over a long span of time, it has in fact changed dramatically over the past two hundred years, and that it is an extremely rich and complex cultural phenomenon deeply imbedded in the construction of national identity.

Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Mawenn is the first book to link these five filmmakers together through an analysis of the relationship between filming one's own body and the creative body. Through engaged artistic practices, these female filmmakers turn the camera to their bodies as a way to show the process of artistic creation and to produce themselves as filmmakers and artists in their work from 19872009. By making visible their bodies, they offer a wider range of representation of women in French film. Through avant-garde form, in which tangible corporeal elements are made image, they transform representational content and produce new cinematic bodies with the power to influence signifying practices in contemporary French culture. By rendering visible their artistic practice and praxis and their camera in their workreflexive practices that also unite these filmmakersthese women also visually claim the role of filmmaker and creative subject. Thus they establish their authority in a film industry in which women's participation and recognition of their achievements have historically been lower than that of their male counterparts.

When Elizabeth von Arnim anonymously published her debut Elizabeth and Her German Garden (1898), she became a literary star overnight. The mystery surrounding the identity of this witty aristocratic diarist in her romantic garden kept readers guessing: Who was Elizabeth? A Prussian Princess? The daughter of Queen Victoria? Throughout her long and successful career as one of England's best satirical novelists, von Arnim never officially revealed her identity. Instead, to her readers and friends she simply became known as ';Elizabeth.' From her first book to her capricious autobiography All the Dogs of My Life (1936), throughout her career von Arnim would explore questions of identity and self-representation. And in spite of von Arnim's love of masquerades and guises, her books include funny and surprisingly personal meditations on the challenges of being a woman writer wrestling with a masculine literary tradition, of taking pride in one's commercial success while moving in Modernist circles, and of being both a hard-working professional and an elegant hostess.In tracing the conflict between femininity and authorship in von Arnim's works, this book engages with key literary issues of the time. Von Arnim's early books offer a witty critique of New Woman fiction. Von Arnim's self-positioning on the literary market and her relationships with writers like Katherine Mansfield, Henry James, and Virginia Woolf shed light on the relationship between middlebrow and modernist literature. Von Arnim's complex autobiography, finally, gives a tentative answer to the all-important question: can a writing woman be a lady?