Africa is known for its multi-faceted immaterial culture, manifested in highly original music, oral texts, artistic performances and sporting events. These cultural expressions are increasingly regulated by intellectual property rights, as orally transmitted stories are written down, traditional songs broadcast and ownership claimed, and sporting activities once part of village life become national media events. This volume brings together an interdisciplinary team of legal experts, anthropologists and literary scholars to explore, from an African point of view, what happens to intangible cultural goods when they are confronted with large-scale commodification and distribution through media technologies, and globalized and divergent judicial systems, institutions and cultural norms. These transformations are observed in contexts that range from Senegalese wrestling contests to beauty pageants in Mali, from Kenyan hip-hop to the Nigerian novel, from the vuvuzela horn to Cameroonian masks. Contributors address the role of the state and the legacy of the European origination of IP laws, as well as the forms of ownership, technologies of mediation and degrees of commercialization that existed pre-colonially in different African societies. Resisting a single narrative of the imposition of a Western legal regime displacing older African modes, a more complex picture is revealed of the intricate interconnections between pirates, artists, communities, governments and international organizations. It is only when local actors embrace technologies and regulations in a specific historical situation that these become influential forces for change. The question raised is not whether international IP norms conform to African practices, nor whether media impose Western styles, but rather what local actors do with these regulations and how both local and Western practices and technologies impact on each other and co-exist. 'Intellectual property (IP) has become central to global governance but we have little idea of how this international legislation plays out on the ground. This pioneering book shows how local actors use IP rather than the other way around. A must-read for anyone interested in intellectual property.' Isabel Hofmeyr, Visiting Global Distinguished Professor, New York University; Professor of African Literature, University of the Witwatersrand 'A deeply engaging and evidence-rich analysis of the worlds into which intellectual property law, specifically copyright law, has entered in Africa and its effect on these worlds. This collection illustrates the best of what edited volumes can do: create a diverse, informed, and compelling conversation about a specific yet complex topic.' Dr. Hauke Dorsch, AMA African Music Archives, Johannes Gutenberg Universitat Mainz

The central concern of the book is the impact of global terror networks and state counterterrorism on twentieth-century fiction. A unique contribution of this book is the comparative approach, as opposed to the single author focus of most of the edited collections on terrorism in literature.

When The Grapes of Wrath was published in 1939, it had an explosive effect on the public, calling attention to the problems of migrant farm workers during the Great Depression. This casebook provides a rich source of primary materials on the period and the plight of the migrant farm worker that brings to life the problems Steinbeck immortalized in the novel. Included are interviews with eyewitnesses to the Dust Bowl, firsthand accounts and investigative reports of the causes and effects of the Great Depression, letters to Eleanor Roosevelt and Labor Secretary Frances Perkins, diaries and autobiographies of migrant farm workers in the 1930s, newspaper articles and editorials of the period, congressional testimony, a Wobbly song, affidavits by union activists, and other unique materials, many of which have never before appeared in print. All these materials can be used in literature, American history, and interdisciplinary classes to enrich the study of this novel and its times. Following a literary analysis of the novel, six chapters present primary documents on the following topics related to the novel: the financial causes and results of the Great Depression; the history of farming in the early twentieth century and the growth of agribusiness in California; working and living conditions of migrant farm workers in 1930s California; attempts to unionize farm workers and major strikes of the period; lawlessness among law enforcement officers in dealing with union members; the legacy of the 1930s--Cesar Chavez and the United Farm Workers, and working and living conditions of farm workers long after the publication of the novel. Each chapter is followed by study questions, topics forresearch papers and class discussion, and suggestions of further reading.

In southern graveyards through the first decades of the twentieth century, the Confederate South was commemorated by tombstones and memorials, in Confederate flags, and in Memorial Day speeches and burial rituals. Cemeteries spoke the language of southern memory, and identity was displayed in ritualistic form--inscribed on tombs, in texts, and in bodily memories and messages. Katharine DuPre Lumpkin, Lillian Smith, and Pauli Murray wove sites of regional memory, particularly Confederate burial sites, into their autobiographies as a way of emphasizing how segregation divided more than just southern landscapes and people.

Darlene O'Dell here considers the southern graveyard as one of three sites of memory--the other two being the southern body and southern memoir--upon which the region's catastrophic race relations are inscribed. O'Dell shows how Lumpkin, Smith, and Murray, all witnesses to commemorations of the Confederacy and efforts to maintain the social order of the New South, contended through their autobiographies against Lost Cause versions of southern identity. Sites of Southern Memory elucidates the ways in which these three writers joined in the dialogue on regional memory by placing the dead southern body as a site of memory within their texts.

In this unique study of three women whose literary and personal lives were vitally concerned with southern race relations and the struggle for social justice, O'Dell provides a telling portrait of the troubled intellectual, literary, cultural, and social history of the American South.

This work explores this crucial period in the development of the English novel, integrating critical theory, historical background and close reading. Divided into two major sections, the first shows how historical and contextual material is essential for developing powerful readings. Thus the first part challenges such New Critical tenets as "exit author" and the "biographical fallacy" and discusses how the author becomes a formal presence in the text.;The second section is theoretical and speaks of the transformation in the way that we read and think about authors, readers, characters and form in the light of recent theory, offering an alternative to the deconstructive and Marxist trends in literary studies.

Women Writers and the Hero of Romance studies the nature of the hero and his meaning for the female seeker, or quester, in romance fiction from Wuthering Heights to Fifty Shades of Grey. The book includes chapters on Wuthering Heights, Middlemarch, The Scarlet Pimpernel, The Sheik, and the novels of Ayn Rand and Dorothy Dunnett.

The rediscovery of Zora Neale Hurston's Their Eyes Were Watching God, first published in 1937 but subsequently out-of-print for decades, marks one of the most dramatic chapters in African-American literature and Women's Studies. Its popularity owes much to the lyricism of the prose, the pitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this Casebook presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. As it records the major debates the novel has sparked on issues of language and identity, feminism and racial politics, A Casebook charts new directions for future critics and affirms the classic status of the novel.

Modernism both influenced and was fascinated by the rhetorical and aesthetic manifestations of fascism. In examining how four artists and writers represented fascist leaders, Annalisa Zox-Weaver aims to achieve a more complex understanding of the modernist political imagination. She examines how photographer Lee Miller, filmmaker Leni Riefenstahl, writer Gertrude Stein and journalist Janet Flanner interpret, dramatize and exploit Hitler, Goering and Petain. Within their own artistic medium, each of these modernists explore confrontations between private and public identity, and historical narrative and the construction of myth. This study makes use of extensive archival material, such as letters, photographs, journals, unpublished manuscripts and ephemera, and includes ten illustrations. This interdisciplinary perspective opens up wider discussions of the relationship between artists and dictators, modernism and fascism, and authority and representation.

English novelist E.M. Forster wrote his last and best-loved work, A Passage to India, both as a paean to his love for India and as a tribute to the relationships he formed with Indians. Forster became entranced by the India of the Raj at a young ape, and his love affair with the sub-continent, its princes, and peoples, was to last all his life. At his most socially transgressive, it was with Indians that Forster chose to connect and with whom he put into effect his belief in man's duty to value friendship over state or ideology. His time in India was undoubtedly when he was at his most human and most vulnerable. At once a contemporary reflection on India's rich history and a biographical retelling of Forster's travels through the country in the early 1900s, Developing the Heart delves into the past to better understand the profound impact certain events and people had on his writing. In doing so, it allows readers to look on as Forster matures and softens over time in his behaviour with others as well as with himself. Often using Forster's own words to evoke a vivid landscape, this is the story of the most dramatic and exotic part of the life of one of England's greatest novelists.

Harold Pinter is universally described as "Britain's leading dramatist." This book evaluates the justification for this appellation. It examines his work in relation to changes taking place in the New British Theatre after the so-called theatrical revolution of 1956, and draws attention to those autobiographical experiences that have been transmuted into his art. Beginning with a look at the nature of British theatre prior to 1956, Peacock then describes Pinter's early life in the East End of London, his career as an actor, and his early writing. The discussion follows Pinter's life and work from The Room in 1957 to his most recent play, Ashes to Ashes in 1996. The author argues that although Pinter has not instigated an aesthetic revolution, he has, more significantly, through his representation of human behavior, provoked a new way of viewing the world.

What can post/colonial studies and their approaches contribute to our understanding of the Austro-Hungarian (k.u.k.) occupation and administration of Bosnia-Herzegovina from 1878 to 1914? This anthology presents some possible answers to this research question which goes back to a workshop held at the University of Antwerp in 2005. Later more researchers were invited from the small international circle of established and emerging experts to contribute to this new perspective on the imperial intermezzo of Bosnia-Herzegovina (which is usually overshadowed by the two World Wars and the Yugoslav Succession Wars of the 1990s). Alternative readings of both Austrian and Bosnian history, literature, and culture are meant to serve as a third way, as it were, bypassing the discursive fallacies of Habsburg nostalgia and nationalist self-victimization. As a result, the essays of this interdisciplinary volume (collected and available in print for the first time) focus on the impact the Austro-Hungarian presence has had on Bosnia-Herzegovina and vice versa. They consider both the contemporary imperialist setting as well as the expansionist desire of the Habsburg Monarchy directed southward. Exploring the double meaning of the German title WechselWirkungen, the authors consider the consequences of occupation, colonization and annexation as a paradigm shift affecting both sides: not only intervention and interaction at a political, economic, social, cultural, and religious level, but also imposed hegemony along with cultural transfer and hybridity. Finally, the imperial gaze at the Balkan region outside of the Habsburg territories is included in the form of three exemplary case studies on Albania and Montenegro.

Navigating Loss in Women's Contemporary Memoir traces the grief process through the lives of contemporary women writers to show how its complex, multi-layered nature can encourage us towards new understandings of loss.

Franz Xaver Kroetz -- banana-cutter, hospital orderly, fledgling actor and, more significantly, Germany's most popular contemporary dramatist of the seventies and early eighties. This study, which situates Kroetz's aesthetics in a political context, focuses on four plays that mark crisis points in his development of a political aesthetic. The breaks in otherwise very successful aesthetic models occur as Kroetz responds to changing social conditions.All those interested in Kroetz, as well as in broader aesthetic questions, will find that this book makes important breakthroughs.

This work provides a wealth of information on obscure and overlooked American playwrights as well as some famous ones; it will be a welcome addition for collections specializing in the theater arts. "Reference Books Bulletin"

This directory and index, the first such volume devoted exclusively to contemporary black American dramatists, will have an important place in theatre collections. It captures and preserves an elusive part of artistic endeavor, giving access to literally thousands of dramatic works that would otherwise be lost to scholars and the public. Organized as an encyclopedia, it provides information on more than 600 noteworthy Black American playwrights whose plays have been written, produced, or published between 1950 and the present. The volume begins with an introductory essay surveying the history of contemporary black American drama. Playwrights, screenwriters, radio and television scriptwriters, and musical theatre collaborators are treated in individual entries that comprise the bulk of the book. The volume also supplies a bibliography of anthologies, books, and periodicals cited; mailing addresses for more than 200 of the playwrights; and title and subject indexes.

What happens when philosophy and literature meet? This pioneering study of the essays and fiction of Georges Bataille, Pierre Klossowski, and Maurice Blanchot examines the relationship between the literary and the philosophical dimension of their work and throws new light on the radical singularity of their writing.

Like Arthur Conan Doyle before him, best-selling novelist Robin Cook has turned from the practice of medicine to that of writing popular suspense fiction. Widely recognized as the Master of the Medical Thriller, Cook uses the medium of the popular novel to address a range of social issues: environmental pollution, gender inequality in the workplace, the risks inherent in the common practice of secrecy in science research, and above all, the ramifications of medicine's transition from profession to corporate industry. This study analyzes in turn each of Cook's medical thrillers, from "Coma" to"Contagion."

Following a biographical chapter, the genre chapter examines the ways in which Cook's medical thriller incorporates plotting conventions and strategies borrowed from such popular literary genres as the science fiction novel, the murder mystery, and the gothic romance. Each novel is then examined in a separate chapter with subsections on plot, character, and theme. Stookey also offers an alternative critical approach to the novel, which gives the reader another perspective from which to read and discuss the text. A complete bibliography of Cook's fiction, general criticism and biographical sources, and listings of reviews of each novel complete the work. The only study of one of America's most popular contemporary novelists, read by adults and young adults alike, this is a key purchase for schools and public libraries.

This bibliography of selected writings by 184 women authors from German-speaking countries will be a boon to teachers, students, reference librarians, and library selectors interested in women's literature. The bibliographic listings, many of them annotated, are preceded by a brief biography and critical assessment. The annotations offer concise summaries and commentary. . . . Coverage is broad, spanning 11 centuries, and including writers of diaries, polemics, essays, etc., . . . A necessary acquisition for all academic libraries. Choice Researchers in German literature and women's studies will be delighted with this new book by Else Frederiksen and thirty-five other contributors. Journal of English and Germanic Philology The literature by women writers in German-speaking countries is abundant and varied, yet it is almost undocumented in English. This annotated bio-bibliographical guide presents both factual and interpretive information on 185 Austrian, German (German Democratic Republic and Federal Republic of Germany after 1945), and Swiss women writers from the tenth century to the present. It is the largest collective research project on German-speaking women writers in English to date and among the most comprehensive in any language, including German. The volume concentrates on those authors who wrote and published primarily prose works, including those poets and dramatists who wrote prose. An important aspect of the volume is its inclusion of the so-called non-traditional genres, such as autobiographies, diaries, letters, travelogues, polemics, and essays--forms of writing that play such an important role in the literature by women and that provide particularly valuable insights into their social context. The selections are necessarily subjective, based on the contributors' critical perspectives and areas of interest, taking into account the development and the results of feminist literary criticism and scholarship in the last fifteen years. All entries are listed in alphabetical order in the main bibliography. The appendixes provide alternative means of access. A chronological list of authors by birthdate allows for a chronological reading of the author entries and should be helpful to readers interested in questions about a female literary continuum. The Classified List of Authors by Country will be useful to those interested primarily in any one of the German-speaking countries. Two title indexes list all titles mentioned in the volume in either German or in English translation. The list of selected secondary literature mentions all bibliographies and reference works used for the compilation of authors. It also includes theoretical and critical studies, works on women in the cultural context, and works on specific literary topics. Each author entry begins with the name of the author by which she is best known. A paragraph follows the author entry providing brief information on the author's life and her cultural and literary context. The paragraphs following the general description contain detailed bibliographical information for all listings. Annotations are provided for selected individual works. The volume will be of interest to anyone interested in the writings of women authors from Germany (the two Germanies after 1945), Austria, and Switzerland and it is a necessity for courses in Women's Studies and in German Literature.

"I find myself talking to you about all the great joys, all the agonies, all my thoughts..." - Letter to Eva Konikova, 1946 Out of the thousands of letters Tove Jansson wrote a cache remains that she addressed to her family, her dearest confidantes, and her lovers, male and female. Into these she spilled her innermost thoughts, defended her ideals and revealed her heart. To read these letters is both an act of startling intimacy and a rare privilege. Penned with grace and humour, Letters from Tove offers an almost seamless commentary on Tove Jansson's life as it unfolds within Helsinki's bohemian circles and her island home. Spanning fifty years between her art studies and the height of Moomin fame, we share with her the bleakness of war; the hopes for love that were dashed and renewed, and her determined attempts to establish herself as an artist. Vivid, inspiring and shining with integrity, Letters from Tove shows precisely how an aspiring and courageous young artist can evolve into a very great one.

Victorian novelist Mary Ward, best known to her contemporaries as Mrs. Humphry Ward, was one of the most successful and complex women of the 19th and early 20th centuries. Born into the powerful but patriarchal dynasty of Thomas Arnold of Rugby, she lived at the center of an intellectual and cultural circle peopled by such eminent figures as Mark Pattison, Thomas Huxley, and Charles Darwin. Her novel Robert Elsmere (1888), the first in a series of bestsellers, earned her both unprecedented sums of money and the critical respect of such writers as Henry James. She helped found Somerville College, Oxford, the University's first institution of higher education of women, and helped create a number of play centers for the children of London's working poor. And as the first woman reporter to enter the trenches in 1916, she wrote articles that were instrumental in bringing America into the war.
In Mrs. Humphry Ward, John Sutherland explores a goldmine of materials never before available to recapture a fascinating life, one in which extraordinary achievements were often overshadowed by private misfortune. Sutherland describes how Ward's parents' marriage was shattered by her father's religious peregrinations (an Anglican, he converted to Roman Catholicism, then returned to the Church of England, then became a Catholic again), how her own remarkable success placed considerable stress on her marriage, and how all her resources (both financial and emotional) went to support a renegade, spendthrift, and disappointing son. And he also sheds light on one of the great paradoxes of this accomplished woman's life--that she led the fight to block woman's suffrage.
Throughout, Sutherland writesmovingly of the private life of a remarkable public figure. A fascinating study of how much a woman could and could not do in the Victorian and Edwardian eras, this engaging biography illuminates the intellectual climate of the late 19th century.

Defending Poetry studies the tradition of poetic defence, or apologia, as it has been pursued and developed by three of the twentieth century's leading poet-critics: Joseph Brodsky, Seamus Heaney, and Geoffrey Hill. It begins with an extended introduction to philosophical debates over the ethical value of literature from Plato to Levinas and continues by situating these three poets as in one sense historically continuous with the defences of Horace, Sidney, Coleridge, and Shelley, but also as drastically other. This otherness is bounded on one side by the example of T. S. Eliot's career-long contemplation of the ideal of poetic 'integrity', and on the other by a collective recognition of the twentieth century's great horrors, which seem to corrode all associations of art and the good. Through close readings of the poems and prose essays of Brodsky, Heaney, and Hill, Defending Poetry makes a timely intervention in current debates about literature's ethics, arguing that any ethics of literature ought to take into account not only poetry, but also the writings of poets on the value of poetry.

Co-founder of the Provincetown Players and one of its leading writers, Susan Glaspell won the Pulitzer Prize for Alison's House (1930) and was also successful as an actress, producer, and novelist. Her plays were compared, often favorably, with O'Neill's. After a period of eclipse, Glaspell's concern with woman's desire for selfhood brought her plays to the attention of feminist scholarship beginning in the 1970s. Mary Papke argues in this work for a reassessment of Glaspell as a major American playwright. This sourcebook begins with a bio-critical survey and includes plot summaries for each staged work, complete with production history and critical reception. An annotated bibliography of primary works includes plays, novels, short fiction, nonfiction, nonprint, and archival sources. The secondary bibliography documents reviews and provides extensive annotations for a broad range of materials. Chronologically organized, it constitutes a detailed examiniation of Glaspell criticism.

Throughout her novels, Toni Morrison explores the complex interaction of race, class, culture, and gender. This study takes into account both Western and Black traditions to show how Morrison not only denounces the constricting patterns of the dominant culture, but also, through the reversal or subversion of Western stereotypes, harnesses the rich potential for the significance they contain.

While most recent studies of Morrison examine individual works separately, this book concentrates on particular dimensions of Morrison's fiction and explores the continuities and developments from her first to most recent novel. And while other studies generally approach Morrison from a particular critical perspective, this book instead considers the interaction of multiple determinants such as race and gender, and gives special attention to the pressure exerted by dominant cultural forms. The authors demonstrate how in contradiction to the dominant culture's ideology of unity and homogeneity, Morrison makes a case for the value of difference in a diverse society.

Sylvia Plath and the Theatre of Mourning challenges the critical tendency to see Plath's writing in `confessional' terms, and draws attention to its self-reflexivity. The book argues that Plath developed a theatrical conception of the speaking subject. In her closely sustained study, Britzolakis relates the texts both to their historical moment and to contemporary debates about language, gender, and subjectivity.

During the 1920s and 1930s, Willis Richardson (1889-1977) was highly respected as a leading African-American playwright and drama anthologist. His plays were performed by numerous black high school, college, and university drama groups and by theater companies in Chicago, New York, Washington D.C., Cleveland, Baltimore, and Atlanta. With the opening of "The Chip Woman's Fortune" (1923), he became the first African American to have a play produced on Broadway. Several of his 46 plays were published in assorted magazines, and in his essays, he urged black Americans to seek their dramatic material in their own lives and circumstances. In addition, he edited three anthologies of plays by African-Americans. But between 1940 and his death in 1977, Richardson came to realize that his plays were period pieces and that they no longer reflected the problems and situations of African-Americans. In the years before his death, he attempted vigorously yet unsuccessfully to preserve several of his plays through publication, if not production. But the man who has been called the father of African-American drama and who was considered the hope and promise of African-American drama died in obscurity.

Richardson has even been neglected by the scholarly community. This critical biography, the first extensive consideration of his life and work, firmly reestablishes his pioneering role in American theater. The book begins with a detailed chronology, followed by a thoughtful biographical essay. The volume then examines the nature of African-American drama in the 1920s, the period during which Richardson was most productive, and it analyzes his approach to drama as a means of educating African-American audiences. It then explores the African-American community as the central theme in Richardson's plays, for Richardson typically looks at the consequences of refusals by blacks to help one another. The work additionally considers Richardson's history plays, his anthologies, his dramas intended for black children, and his essays. A concluding chapter summarizes his lasting influence; the book closes with a listing of his plays and an extensive bibliography.

Written by Derrida scholars, philosophers, and classicists, Derrida and Antiquity analyses a dialogue with the ancient world in the work of one of the greatest philosophers of the twentieth century. Through an analysis of Derrida's work it explores the relationship between modern philosophy and Plato, the role ancient concepts of democracy have played in modern political debates, and the place of antiquity in contemporary discussions about Europe, as well as investigating the influence that deconstruction has had on the study of classical literature, ancient philosophy, and early religion. The volume is prefaced by a previously untranslated essay by Derrida, 'We Other Greeks'.