In the early twenty-first century, the Chinese literary world saw an emergence of fictional works - dubbed as "oppositional political novels" - that took political articulation as their major purpose and questioned the fundamental principles and intrinsic logic of the Chinese model. Based on close readings of five representative oppositional Chinese political novels, Questioning the Chinese Model examines the sociopolitical connotations and epistemological values of these novels in the broad context of modern Chinese intellectual history and contemporary Chinese politics and society. Zhansui Yu provides a sketch of the social, political, and intellectual landscape of present-day China. He investigates the dialectic relationship between the arts and politics in the Chinese context, the mechanisms and dynamics of censorship in the age of the Internet and commercialization, and the ideological limitations of oppositional Chinese political novels. In the process of textual and social analysis, Yu extensively cites Western political philosophers, such as Hannah Arendt, Antonio Gramsci, Michel Foucault, and references well-regarded studies on Chinese literature, politics, society, and the Chinese intelligentsia. Examining oppositional Chinese political novels from multiple perspectives, Questioning the Chinese Model applies a broad range of knowledge beyond merely the literary field.

By analyzing appropriations of literary modernism in video, experimental film, and installation art, this study investigates works of media art as agents of cultural memory. While research recognizes film and literature as media of memory, it often overlooks media art. Adaptation studies, art history, and hermeneutics help understand 'appropriation' in art in terms of a dialog between an artwork, a text, and their contexts. The Russian Formalist notion of estrangement, together with new concepts from literary, film, and media studies, offers a new perspective on 'appropriation' that illuminates the sensuous dimension of cultural memory . Media artworks make memory palpable: they address the collective body memory of their viewers, prompting them to reflect on the past and embody new ways of remembering. Five contextual close-readings analyze artworks by Janis Crystal Lipzin, William Kentridge, Mark Aerial Waller, Pawel Wojtasik, and Tom Kalin. They appropriate modernist texts by Gertrude Stein, Italo Svevo, Louis-Ferdinand Celine, Guillaume Apollinaire, Virginia Woolf, and Robert Musil. This book will be of value to readers interested in cultural memory, sensory studies, literary modernism, adaptation studies, and art history.

Ruth Kluger (1931 - 2020) passed away on October 5, 2020 in the U.S. Born in Vienna and deported to Theresienstadt, she survived Auschwitz and the Shoah together with her mother. After living in Germany for a short time after the War, she immigrated to New York. She was educated in the U.S. and received degrees in English literature as well as her Ph.D. in German literature at the University of California, Berkeley. She taught at several American universities. She has numerous scholarly publications to her credit, mostly in the fields of German and Austrian literary history. She is also recognized as a poet in her own right, an essayist, and a feminist critic. She returned to Europe, where she was a guest professor in Goettingen and Vienna. Her memoir, entitled weiter leben (1992), which she translated and revised in an English parallel-text as Still Alive, was a major bestseller and highly regarded autobiographical account of a Holocaust survivor. It was subsequently translated into more than a dozen languages. It has also generated a vigorous critical discussion in its own right. Ruth Kluger received numerous prestigious literary prizes and other distinctions. The present volume, The Legacy of Ruth Kluger and the End of the Auschwitz Century, aims to honor her memory by assessing critically her writings and career. Taking her biography and writings as points of departure, the volume includes contributions in fields and from perspectives which her writings helped to bring into focus acutely. In the table of contents are listed the following contributions: Sander L. Gilman, "Poetry and Naming in Ruth Kluger's Works and Life"; Heinrich Detering, "'Spannung': Remarks on a Stylistic Principle in Ruth Kluger's Writing"; Stephan Braese, "Speaking with Germans. Ruth Kluger and the 'Restitution of Speech between Germans and Jews'"; Irene Heidelberger-Leonard, "Writing Auschwitz: Jean Amery, Imre Kertesz, and Ruth Kluger"; Ulrike Offenberg, "Ruth Kluger and the Jewish Tradition on Women Saying Kaddish; Mark H. Gelber, "Ruth Kluger, Judaism, and Zionism: An American Perspective"; Monica Tempian, "Children's Voices in the Poetry of the Shoah"; Daniel Reynolds, "Ruth Kluger and the Problem of Holocaust Tourism"; Vera Schwarcz, "A China Angle on Memory and Ghosts in the Poetry of Ruth Kluger."

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition one that developed in tandem with neo-slave narratives by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me.

The anthology of essays & some one-liners laid out in this book are nothing more than the author's perceptions on how he looks at things or wants people to believe what his out-look is though that may not always be true. They should not be construed of some-one trying to sermonize or push through with his opinion of things. They are not an expert's word though someone like an expert does not really exist at all. At times the author's ideas may confuse the reader to begin with but as they say great confusion leads to great awakening. The motive of the author is not to confuse the reader but to arise doubt only to be enlightened profusely. The essays though ostentatiously named "Golden Words" may not seem that golden to some, rather they may look at it as if old wine has been packaged in a new bottle which is what basically they are. The essays range from abstract philosophical issues to some contemporary real life issues & even though they are some body's perceptions, they are open to debate. The author claims to have taken the inspiration for these pieces from his life experiences at the same time laying no claim to living life the way these pieces are propounding. Hope they make for a good reading. The author can be reached at [email protected]

In June 1942, Anne Frank received a red-and-white-checked diary for her thirteenth birthday, just weeks before she and her family went into hiding in an Amsterdam attic to escape the Nazis. For two years, with ever-increasing maturity, Anne crafted a memoir that has become one of the most compelling documents of modern history. But Anne Frank's diary, argues Francine Prose, is as much a work of art as it is a historical record. Through close reading, she marvels at the teenage Frank's skillfully natural narrative voice, at her finely tuned dialogue and ability to turn living people into characters.

Anne Frank: The Book, The Life, The Afterlife tells the extraordinary story of the book that became a force in the world. Along the way, Prose definitively establishes that Anne Frank was not an accidental author or a casual teenage chronicler but a writer of prodigious talent and ambition.

This study examines how postcolonial landscapes and environmental issues are represented in fiction. Wright creates a provocative discourse in which the fields of postcolonial theory and ecocriticism are brought together.
Laura Wright explores the changes brought by colonialism and globalization as depicted in an array of international works of fiction in four thematically arranged chapters. She looks first at two traditional oral histories retold in modern novels, Zakes Mda's "The Heart of Redness "(South Africa) and Ngugi wa Thiong'o's "Petals of Blood" (Kenya), that deal with the potentially devastating effects of development, particularly through deforestation and the replacement of native flora with European varieties. Wright then uses J. M. Coetzee's "Disgrace" (South Africa), Yann Martel's "Life of Pi" (India and Canada), and Joy Williams's "The Quick and the Dead" (United States) to explore the use of animals as metaphors for subjugated groups of individuals. The third chapter deals with India's water crisis via Arundhati Roy's activism and her novel, "The God of Small Things." Finally, Wright looks at three novels--Flora Nwapa's "Efuru" (Nigeria), Keri Hulme's "The Bone People" (New Zealand), and Sindiwe Magona's "Mother to Mother" (South Africa)--that depict women's relationships to the land from which they have been dispossessed.
Throughout "Wilderness into Civilized Shapes," Wright rearticulates questions about the role of the writer of fiction as environmental activist and spokesperson, the connections between animal ethics and environmental responsibility, and the potential perpetuation of a neocolonial framework founded on western commodification and resource-based imperialism.

"In lively and unflinching prose, Eric Cazdyn and Imre Szeman argue that contemporary thought about the world is disabled by a fatal flaw: the inability to think "an after" to globalization. After establishing seven theses (on education, morality, history, future, capitalism, nation, and common sense) that challenge the false promises that sustain this time-limit, After Globalization examines four popular thinkers (Thomas Friedman, Richard Florida, Paul Krugman and Naomi Klein) and how their work is dulled by these promises. Cazdyn and Szeman then speak to students from around the globe who are both unconvinced and uninterested in these promises and who understand the world very differently than the way it is popularly represented. After Globalization argues that a true capacity to think an after to globalization is the very beginning of politics today"--

With the advancement of cybernetics, avatars, animation, and virtual reality, a thorough understanding of how the puppet metaphor originates from specific theatrical practices and media is especially relevant today. This book identifies and interprets the aesthetic and cultural significance of the different traditions of the Italian puppet theater in the broader Italian culture and beyond. Grounded in the often-overlooked history of the evolution of several Italian puppetry traditions - the central and northern Italian stringed marionettes, the Sicilian pupi, the glove puppets of the Po Valley, and the Neapolitan Pulcinella - this study examines a broad spectrum of visual, cinematic, literary, and digital texts representative of the functions and themes of the puppet. A systematic analysis of the meanings ascribed to the idea and image of the puppet provides a unique vantage point to observe the perseverance and transformation of its deeper associations, linking premodern, modern, and contemporary contexts.