Philology was everywhere and nowhere in classical South Asia. While its civilizations possessed remarkably sophisticated tools and methods of textual analysis, interpretation, and transmission, they lacked any sense of a common disciplinary or intellectual project uniting these; indeed they lacked a word for 'philology' altogether. Arguing that such pseudepigraphical genres as the Sanskrit puranas and tantras incorporated modes of philological reading and writing, Cox demonstrates the ways in which the production of these works in turn motivated the invention of new kinds of sastric scholarship. Combining close textual analysis with wider theoretical concerns, Cox traces this philological transformation in the works of the dramaturgist Saradatanaya, the celebrated Vaisnava poet-theologian Venkatanatha, and the maverick Saiva mystic Mahesvarananda.

The human body as cultural object always "has "and "is "a performing subject, which binds the political with the theatrical, shows the construction of ethnicity and technology, unveils private and public spaces, transgresses race and gender, and finally becomes a medium that overcomes the borders of art and life. Since there cannot be a universal definition of the human body due to its culturally performative role as a producer of interactive social spaces, this volume discusses body images from diverse cultural, historical, and disciplinary perspectives, such as art history, human kinetics and performance studies. The fourteen case studies reach from Asian to European studies, from 19th century French culture to 20th century German literature, from Polish Holocaust memoirs to contemporary dance performances, from Japanese avant-garde theatre to Makeover Reality TV shows. This volume is of interest for performance studies artists as well. By focusing on the intersection of body and space, all contributions aim to bridge the gap between art practices and theories of performativity. The innovative impulse of this approach lies in the belief that there is no distinction between performing, discussing, and theorizing the human body, and thus fosters a unique transdisciplinary and international collaboration around the theme performative body spaces. (I. Biopolitical Choreographies, II. Transcultural Topographies, III. Corporal Mediations, IV. Controlled Interfaces.)

Originally published in 1912. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

This book is an "apologia" for the rooted intellectual against the disdainful condescension of the cosmopolitan intellectual an apology in the Socratic sense of the word. It reflects the author s Texas rootedness unapologetically and offers a polemical but thoughtful indictment of the intellectual prejudice against rootedness; but it is ultimately about the universal human struggle with origins.

Architecture and Control makes a collective critical intervention into the relationship between architecture, including virtual architectures, and practices of control since the turn of the twentieth to twenty-first centuries. Authors from the fields of architectural theory, literature, film and cultural studies come together here with visual artists to explore the contested sites at which, in the present day, attempts at gaining control give rise to architectures of control as well as the potential for architectures of resistance. Together, these contributions make clear how a variety of post-2000 architectures enable control to be established, all the while observing how certain architectures and infrastructures allow for alternative, progressive modes of control, and even modes of the unforeseen and the uncontrolled, to arise. Contributors are: Pablo Bustinduy, Rafael Dernbach, Alexander R. Galloway, Hans Ulrich Gumbrecht, Maria Finn, Runa Johannessen, Natalie Koerner, Michael Krause, Samantha Martin-McAuliffe, Lorna Muir, Mikkel Bolt Rasmussen, Anne Elisabeth Sejten and Joey Whitfield

Traditional approaches focused on significance tests have often been difficult for linguistics researchers to visualise. Statistics in Corpus Linguistics Research: A New Approach breaks these significance tests down for researchers in corpus linguistics and linguistic analysis, promoting a visual approach to understanding the performance of tests with real data, and demonstrating how to derive new intervals and tests. Accessibly written, this book discusses the 'why' behind the statistical model, allowing readers a greater facility for choosing their own methodologies. Accessibly written for those with little to no mathematical or statistical background, it explains the mathematical fundamentals of simple significance tests by relating them to confidence intervals. With sample datasets and easy-to-read visuals, this book focuses on practical issues, such as how to: * pose research questions in terms of choice and constraint; * employ confidence intervals correctly (including in graph plots); * select optimal significance tests (and what results mean); * measure the size of the effect of one variable on another; * estimate the similarity of distribution patterns; and * evaluate whether the results of two experiments significantly differ. Appropriate for anyone from the student just beginning their career to the seasoned researcher, this book is both a practical overview and valuable resource.

Uncommon Wealths in Postcolonial Fiction engages urgently with wealth, testing current assumptions of inequality in order to push beyond reductive contemporary readings of the gaping abyss between rich and poor. Shifting away from longstanding debates in postcolonial criticism focused on poverty and abjection, the book marshals fresh perspectives on material, spiritual, and cultural prosperity as found in the literatures of formerly colonized spaces. The chapters 'follow the money' to illuminate postcolonial fiction's awareness of the ambiguities of 'wealth', acquired under colonial capitalism and transmuted in contemporary neoliberalism. They weigh idealistic projections of individual and collective wellbeing against the stark realities of capital accumulation and excessive consumption. They remain alert to the polysemy suggested by "Uncommon Wealths," both registering the imperial economic urge to ensure common wealth and referencing the unconventional or non-Western, the unusual, even fictitious and contrasting privately coveted and exclusively owned wealth with visions of a shared good. Arranged into four sections centred on aesthetics, injustice, indigeneity, and cultural location, the individual chapters show how writers of postcolonial fiction, including Aravind Adiga, Amit Chau-dhuri, Anita Desai, Patricia Grace, Mohsin Hamid, Stanley Gazemba, Tomson Highway, Lebogang Matseke, Zakes Mda, Michael Ondaatje, Kim Scott, and Alexis Wright, employ prosperity and affluence as a lens through which to re-examine issues of race, ethnicity, gender, and family, the cultural value of heritage, land, and social cohesion, and such conflicting imperatives as economic growth, individual fulfilment, social and environmental responsibility, and just distribution. CONTRIBUTORS Francesco Cattani, Sheila Collingwood-Whittick, Paola Della Valle, Sneja Gunew, Melissa Kennedy, Neil Lazarus, John McLeod, Eva-Maria Muller, Helga Ramsey-Kurz, Geoff Rodoreda, Sandhya Shetty, Cheryl Stobie, Helen Tiffin, Alex Nelungo Wanjala, David Waterman

Which were the mechanisms by which certain groups were positioned at the margins of national narratives during the nineteenth century, either via their exclusion from these narratives of through their incorporation into them as 'others'? By engaging with shifting ideas of exclusion and difference, the authors in this book reflect upon the paradoxical centrality of the subaltern at a time when literature was deployed as a tool for nation building. The lasting presence of the Jewish and Moorish legacy, the portrayal of gypsy characters, or the changing notions of femininity in public discourse exemplify the ways in which images of marginal 'types' played a central role in the configuration of the very idea of Spanishness. ?Cuales fueron los mecanismos mediante los que ciertos grupos fueron relegados a los margenes del relato nacional durante el siglo XIX, bien a traves de su exclusion de dichos relatos, bien a traves de su incorporacion a ellos como "otros"? A traves del analisis de las ideas de exclusion y diferencia, los autores de este libro reflexionan sobre la paradojica centralidad de lo marginal en una epoca en la que la literatura fue una herramienta fundamental para la construccion de la nacion. La pervivencia del legado judio y morisco, la representacion de personajes gitanos o las distintas nociones de feminidad presentes en el discurso publico ejemplifican las formas en que las imagenes de "tipos" marginales desempenaron un papel central en la configuracion de la idea de espanolidad.

Oxi (Gr. Determiner, lit. 'No', fig. 'Resistance', pronounced 'ochi') retells Sophocles' Antigone through the contemporary Greek crisis and modern European philosophy. A collaboration between the renowned British auteur Ken McMullen and the literary theorist Martin McQuillan, the film draws upon and responds to the importance of the Antigone of modern thought (Hegel, Arendt, Lacan, Derrida, Butler), while coming up close to the politics of the street and the malign effects of the austerity experiment in Greece today. The screenplay weaves together a range of idioms, including performance, fiction, documentary, interview and literary collage. The result is an intensely moving reflection on the tragedy of austerity today, with contributions from Helene Cixous, Etienne Balibar and Antonio Negri, as well as several significant figures in Greek cultural life. The volume includes full transcripts of the interviews with Cixous, Balibar and Negri, and a previously unpublished interview with Jacques Derrida on the question of Oedipus, as well as critical commentary from the filmmakers.

This introduction provides a concise overview of the central issues and critical responses to Shakespeare's sonnets, looking at the themes, images, and structure of his work, as well as the social and historical circumstances surrounding their creation.
Explores the biographical mystery of the identities of the characters addressed.
Examines the intangible aspects of each sonnet, such as eroticism and imagination.
A helpful appendix offers a summary of each poem with descriptions of key literary figures.

Includes ballads, love songs, samples of wit and humor by English and American poets. The arrangement is alphabetical by author with an introductory essay by the editor on the art of reading poetry aloud.

"One of the least understood and often maligned aspects of the Tokugawa Shogunate is the Ooku, or 'Great Interior, ' the institution within the shogun's palace, administered by and for the upper-class shogunal women and their attendants who resided there. Long the object of titillation and a favorite subject for off-the-wall fantasy in historical TV and film dramas, the actual daily life, practices, cultural roles, and ultimate missions of these women have remained largely in the dark, except for occasional explosions of scandal. In crystal-clear prose that is a pleasure to read, this new book, however, presents the Ooku in a whole new down-to-earth, practical light. After many years of perusing unexamined Ooku documents generated by these women and their associates, the authors have provided not only an overview of the fifteen generations of Shoguns whose lives were lived in residence with this institution, but how shoguns interacted differently with it. Much like recent research on imperial convents, they find not a huddled herd of oppressed women, but on the contrary, women highly motivated to the preservation of their own particular cultural institution. Most important, they have been able to identify "the culture of secrecy" within the Ooku itself to be an important mechanism for preserving the highest value, 'loyalty, ' that essential value to their overall self-interested mission dedicated to the survival of the Shogunate itself." - Barbara Ruch, Columbia University "The aura of power and prestige of the institution known as the ooku-the complex network of women related to the shogun and their living quarters deep within Edo castle-has been a popular subject of Japanese television dramas and movies. Brushing aside myths and fallacies that have long obscured our understanding, this thoroughly researched book provides an intimate look at the lives of the elite female residents of the shogun's elaborate compound. Drawing information from contemporary diaries and other private memoirs, as well as official records, the book gives detailed descriptions of the physical layout of their living quarters, regulations, customs, and even clothing, enabling us to actually visualize this walled-in world that was off limits for most of Japanese society. It also outlines the complex hierarchy of positions, and by shining a light on specific women, gives readers insight into the various factions within the ooku and the scandals that occasionally occurred. Both positive and negative aspects of life in the "great interior" are represented, and one learns how some of these high-ranking women wielded tremendous social as well as political power, at times influencing the decision-making of the ruling shoguns. In sum, this book is the most accurate overview and characterization of the ooku to date, revealing how it developed and changed during the two and a half centuries of Tokugawa rule. A treasure trove of information, it will be a vital source for scholars and students of Japan studies, as well as women's studies, and for general readers who are interested in learning more about this fascinating women's institution and its significance in Japanese history and culture." - Patricia Fister, International Research Center for Japanese Studies, Kyoto

SBT/A 19 features selected papers from the Borderless Beckett / Beckett sans frontieres Symposium held in Tokyo at Waseda University in 2006. The essays penned by eminent and young scholars from around the world examine the many ways Beckett's art crosses borders: coupling reality and dream, life and death, as in Japanese Noh drama, or transgressing distinctions between limits and limitlessness; humans, animals, virtual bodies, and stones; French and English; words and silence; and the received frameworks of philosophy and aesthetics. The highlight of the volume is the contribution by Nobel Laureate J. M. Coetzee, the special guest of the Symposium. His article entitled "Eight Ways of Looking at Samuel Beckett" introduces a variety of novel approaches to Beckett, ranging from a comparative analysis of his work and Melville's Moby Dick to a biographical observation concerning Beckett's application for a lectureship at a South African university. Other highlights include innovative essays by the plenary speakers and panelists - Enoch Brater, Mary Bryden, Bruno Clement, Steven Connor, S. E. Gontarski, Evelyne Grossman, and Angela Moorjani - and an illuminating section on Beckett's television dramas. The Borderless Beckett volume renews our awareness of the admirable quality and wide range of approaches that characterize Beckett studies.

How Africa’s most notorious tyrant made his oppressive regime seem both necessary and patriotic

Idi Amin ruled Uganda between 1971 and 1979, inflicting tremendous violence on the people of the country. How did Amin’s regime survive for eight calamitous years? Drawing on recently uncovered archival material, Derek Peterson reconstructs the political logic of the era, focusing on the ordinary people―civil servants, curators and artists, businesspeople, patriots―who invested their energy and resources in making the government work.

Peterson reveals how Amin (1928–2003) led ordinary people to see themselves as front-line soldiers in a global war against imperialism and colonial oppression. They worked tirelessly to ensure that government institutions kept functioning, even as resources dried up and political violence became pervasive. In this case study of how principled, talented, and patriotic people sacrificed themselves in service to a dictator, Peterson provides lessons for our own time.

Ian McEwan's works have always shown an interest in the question of how fiction operates. This interest does not usually manifest on the formal level. A few of the early stories aside, his fictions are not formally experimental. McEwan tends to opt for those reliable patternings of space, time and narrative progression that enable readers to trust the authorial environment sufficiently to identify with characters and become invested, to some extent, in what happens to them. Despite McEwan's commitment, by and large, to naturalistic means of telling a story, his later novels also demonstrate a concern with opacity, as characters often pursue courses of action for reasons that are unclear to them. Equally often, these actions bear some relation to the intrinsic opacity or enigma of one's sexual desires, one's relation to one's mortality, or one's relation to the actions of those human beings who have gone before one, as this book will show. It is this focus on enigma in McEwan's work, whether sexual, mortal, or historical, that lends it to a psychoanalytic reading such as the kind pursued in this book, because for psychoanalysis there is no such thing as full access to one's self or to one's feelings or motivations. Given that one's relation to history is also opaque in the sense that one grasps fully-or imagines one grasps fully-only those historical events which predate or otherwise excludes one, this study seeks historical reasons for why McEwan sometimes blocks readerly identification with characters in the early fiction. For these characters are also products of their environments, environments which the characters' relative opacity and unlikeability seems to offset and exaggerate or present in a manner showcased for one's judgment. And in this way the characters' environment is denaturalized, to say the least. This book reveals how all of these works explore, to some extent, the human tendency to act and feel, in particular situations, in profound contradistinction to how one might prefer to think one would. This failure to coincide with one's image of how one would have expected, or preferred, to behave-The Innocent's Leonard Marnham is not the cool, experienced lover of his imaginings, any more than Solar's Michael Beard is going to revamp his lifestyle or career-produces instances of affective or imaginative excess, troubling images or feelings that can often only be allayed or dealt with by a further failure to coincide with one's desires. In this book, author Eluned Summers-Bremner shows that McEwan's interests in opacity not only become clear in significance and import but that his interests in human failure to coincide with one's views about the past and hopes for the future also appear as what they are: an ongoing concern with how one relates to the complex operation of human history.

While a number of recent works have linked magical realism to postcolonial trauma, this book expands the trauma-theory-based analysis of magical realism. Borrowing from the Russian Formalist Mikhail Bakhtin, the study adapts his concept of chronotope to that of shock chronotope in order to describe unstable time-spaces marked by extreme events. Besides trauma theory, contemporary theories of representation formulated by Guy Debord, Jean Baudrillard, and Slavoj i ek, among others, corroborate specific literary analyses of magical realist novels by Caribbean, North American, and European authors. The study discusses a series of concepts, such as "spectacle" and "hyperreality," in order to create an analogy between the hyperreal, a spectacle without origins, and magical realism, a representation of events without a history, or a recreation of an absence that first needs to be acknowledged before it can be assigned any meaning. Magical realist hyperreality is meant to be a reconstruction of events that were "missed" in the first place because of their traumatic nature. While the magical realist hyperreal might not explain the unspeakable event, if only to avoid the risk of an amoral rationalization, it makes the ineffable be vicariously felt and re-experienced. This study establishes a somewhat unorthodox nexus between magical realist writing (viewed primarily as a postmodern literary phenomenon) and trauma (understood both as an individual and as an often invisible cultural dominant), and proposes the concept of "traumatic imagination" as an analytical tool to be applied to literary texts struggling to represent the unpresentable and to reconstruct extreme events whose forgetting has proven just as unbearable as their remembering. The traumatic imagination defines the empathy-driven consciousness that enables authors and readers to act out and/or work through trauma by means of magical realist images. Corroborated by elements of trauma theory, postcolonial studies, narrative theory, and contemporary theories of representation, the work posits that the traumatic imagination is an essential part of the creative process that turns traumatic memories into narratives. Magical realism lends traumatic events an expression that traditional realism could not, seemingly because the magical realist writing mode and the traumatized subject share the same ontological ground: being part of a reality that is constantly escaping witnessing through telling. Over more than half a century now, magical realism has demonstrated its versatility by affecting literary productions belonging to various cultural spaces and representing different histories of violence. This book examines novels by traumatized and vicariously traumatized authors who make extensive use of fantastic/magical elements in order to represent slavery, postcolonialism, the Holocaust, and war. The Traumatic Imagination: Histories of Violence in Magical Realist Fiction is an important book for magical realism- and trauma theory-based critical collections.

A Companion to Soviet Children's Literature and Film offers a comprehensive and innovative analysis of Soviet literary and cinematic production for children. Its contributors contextualize and reevaluate Soviet children's books, films, and animation and explore their contemporary re-appropriation by the Russian government, cultural practitioners, and educators. Celebrating the centennial of Soviet children's literature and film, the Companion reviews the rich and dramatic history of the canon. It also provides an insight into the close ties between Soviet children's culture and Avant-Garde aesthetics, investigates early pedagogical experiments of the Soviet state, documents the importance of translation in children's literature of the 1920-80s, and traces the evolution of heroic, fantastic, historical, and absurdist Soviet narratives for children.

The missing piece in so many histories of Mesopotamian technical disciplines is the client, who often goes unnoticed by present-day scholars seeking to reconstruct ancient disciplines in the Near East over millennia. The contributions to this volume investigate how Mesopotamian medical specialists interacted with their patients and, in doing so, forged their social and professional identities. The chapters in this book explore rituals for success at court, the social classes who made use of such rituals, and depictions of technical specialists on seal impressions and in later Greco-Roman iconography. Several essays focus on Egalkura: rituals of entering the court, meant to invoke a favorable impression from the sovereign. These include detailed surveys and comparative studies of the genre and its roots in the emergent astrological paradigm of the late first millennium BC. The different media and modalities of interaction between technical specialists and their clients are also a central theme explored in detailed studies of the sickbed scene in the iconography of Mesopotamian cylinder seals and the transmission of specialized pharmaceutical knowledge from the Mesopotamian to the Greco-Roman world. Offering an encyclopedic survey of ritual clients attested in the cuneiform textual record, this volume outlines both the Mesopotamian and the Greco-Roman social contexts in which these rituals were used. It will be of interest to students of the history of medicine, as well as to students and scholars of ancient Mesopotamia. In addition to the editor, the contributors include Netanel Anor, Siam Bhayro, Strahil V. Panayotov, Maddalena Rumor, Marvin Schreiber, JoAnn Scurlock, and Ulrike Steinert.