Against the backdrop of the polarized debate on the ethical significance of storytelling, Hanna Meretoja's The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible develops a nuanced framework for exploring the ethical complexity of the roles narratives play in our lives. Focusing on how narratives enlarge and diminish the spaces of possibilities in which we act, think, and re-imagine the world together with others, this book proposes a theoretical-analytical framework for engaging with both the ethical potential and risks of storytelling. Further, it elaborates a narrative hermeneutics that treats narratives as culturally mediated practices of (re)interpreting experiences and articulates how narratives can be oppressive, empowering, or both. It also argues that the relationship between narrative unconscious and narrative imagination shapes our sense of the possible. In her book, Meretoja develops a hermeneutic narrative ethics that differentiates between six dimensions of the ethical potential of storytelling: the power of narratives to cultivate our sense of the possible; to contribute to individual and cultural self-understanding; to enable understanding other lives non-subsumptively in their singularity; to transform the narrative in-betweens that bind people together; to develop our perspective-awareness and capacity for perspective-taking; and to function as a form of ethical inquiry. This book addresses our implication in violent histories and argues that it is as dialogic storytellers, fundamentally vulnerable and dependent on one another, that we become who we are: both as individuals and communities. The Ethics of Storytelling seamlessly incorporates narrative ethics, literary narrative studies, narrative psychology, narrative philosophy, and cultural memory studies. It contributes to contemporary interdisciplinary narrative studies by developing narrative hermeneutics as a philosophically rigorous, historically sensitive, and analytically subtle approach to the ethical stakes of the debate on the narrative dimension of human existence.

Published in 1811, Sense and Sensibility has delighted generations of readers with its masterfully crafted portrait of two sisters, Elinor and Marianne Dashwood. Forced to leave their home after their father's death, Elinor and Marianne must rely on making good marriages as their means of support. But unscrupulous cads, meddlesome matriarchs, and various guileless and artful women impinge on their chances for love and happiness. The novelist Elizabeth Bowen wrote, "The technique of [Jane Austen's novels] is beyond praise....Her mastery of the art she chose, or that chose her, is complete."

This Modern Library Paperback Classics edition contains a new Introduction by Pulitzer Prize finalist David Gates, in addition to new explanatory notes.


From the Trade Paperback edition.

Most of the major black literary and cultural movements of the twentieth century have been understood and interpreted as secular, secularizing and, at times, profane. In this book, Josef Sorett demonstrates that religion was actually a formidable force within these movements, animating and organizing African American literary visions throughout the years between the New Negro Renaissance of the 1920s and the Black Arts movement of the 1960s. Sorett unveils the contours of a literary history that remained preoccupied with religion even as it was typically understood by authors, readers, and critics alike to be modern and, therefore, secular. Spirit in the Dark offers an account of the ways in which religion, especially Afro-Protestantism, remained pivotal to the ideas and aspirations of African American literature across much of the twentieth century. From the dawn of the New Negro Renaissance until the ascendance of the Black Arts movement, black writers developed a spiritual grammar for discussing race and art by drawing on terms such as "church" and "spirit" that were part of the landscape and lexicon of American religious history. Sorett demonstrates that religion and spirituality have been key categories for identifying and interpreting what was (or was not) perceived to constitute or contribute to black literature and culture. By examining figures and movements that have typically been cast as "secular," he offers theoretical insights that trouble the boundaries of what counts as "sacred" in scholarship on African American religion and culture. Ultimately, Spirit in the Dark reveals religion to be an essential ingredient, albeit one that was always questioned and contested, in the forging of an African American literary tradition.

The cinema, like language, can be said to exist as a system of differences. In his latest book the acclaimed philosopher Jacques Ranciere relates cinema to literature and theatre. With literature, he argues, cinema takes its narrative conventions, while at the same time effacing its images and its philosophy; and it rejects theatre, while also fulfilling theatre's dream. Built on these contradictions, the cinema is the real, material space in which one feels moved by the spectacle of shadows. Thus for Ranciere, the cinema is the always disappointed dream of a language of images.

The Digital Humanities is a comprehensive introduction and practical guide to how humanists use the digital to conduct research, organize materials, analyze, and publish findings. It summarizes the turn toward the digital that is reinventing every aspect of the humanities among scholars, libraries, publishers, administrators, and the public. Beginning with some definitions and a brief historical survey of the humanities, the book examines how humanists work, what they study, and how humanists and their research have been impacted by the digital and how, in turn, they shape it. It surveys digital humanities tools and their functions, the digital humanists' environments, and the outcomes and reception of their work. The book pays particular attention to both theoretical underpinnings and practical considerations for embarking on digital humanities projects. It places the digital humanities firmly within the historical traditions of the humanities and in the contexts of current academic and scholarly life.

Das Kleist-Jahrbuch 2022 dokumentiert die Verleihung des Kleist-Preises 2020 im November 2021 mit den Reden des Preistragers Clemens J. Setz, der Vertrauensperson der Jury Daniela Strigl und des Prasidenten der Heinrich-von-Kleist-Gesellschaft Gunter Blamberger. Den Schwerpunkt bilden die von Andrea Allerkamp und Martin Roussel betreuten Beitrage der internationalen Jahrestagung der Heinrich-von-Kleist-Gesellschaft 2021 >Um einen Kleist von aussen bittend< (u.a. von Laszlo F. Foeldenyi, Rudiger Goerner, Andrea Pagni, Paul Michael Lutzeler und Carlotta von Maltzan). Abhandlungen zu Kleists Werken und Rezensionen wissenschaftlicher Neuerscheinungen zu Kleist sowie zu seinen historischen und systematischen Kontexten beschliessen den Band.

This Element looks at contemporary authorship via three key authorial roles: indie publisher, hybrid author, and fanfiction writer. The twenty-first century's digital and networked media allows writers to disintermediate the established structures of royalty publishing, and to distribute their work directly to - and often in collaboration with - their readers. This demotic author, one who is 'of the people', often works in genres considered 'popular' or 'derivative'. The demotic author eschews the top-down communication flow of author > text > reader, in favor of publishing platforms that generate attention capital, such as blogs, fanfiction communities, and social media.

Science fiction was being written throughout the seventeenth and eighteenth centuries, but it underwent a rapid expansion of cultural dissemination and popularity at the end of the nineteenth and beginning of the twentieth century. This Element explores the ways this explosion in interest in 'scientific romance', that informs today's global science fiction culture, manifests the specific historical exigences of the revolutions in publishing and distribution technology. H. G. Wells, Jules Verne and other science fiction writers embody in their art the advances in material culture that mobilize, reproduce and distribute with new rapidity, determining the cultural logic of twentieth-century science fiction in the process.

Hailed by Henry James as "the finest piece  of imaginative writing yet put forth in the  country," Nathaniel Hawthorne's The Scarlet  Letter reaches to our nation's  historical and moral roots for the material of great  tragedy. Set in an early New England colony, the novel  shows the terrible impact a single, passionate act  has on the lives of three members of the  community: the defiant Hester Prynne; the fiery, tortured  Reverend Dimmesdale; and the obsessed, vengeful  Chillingworth.

With The Scarlet  Letter, Hawthorne became the first American  novelist to forge from our Puritan heritage a  universal classic, a masterful exploration of  humanity's unending struggle with sin, guilt and pride.

Here, essays use the latest theories in postcolonialism, globalization, and post-nationalism to explore how world cinema and theater respond to Bollywood's representation of Shakespeare. In this collection, Shakespeare is both part of an elite Western tradition and a window into a vibrant post-national identity founded by a global consumer culture.

Das Buch untersucht die Sichtweisen von Englischlehrern mit Migrationshintergrund auf den Englischunterricht. Die Autorin geht hierbei der Frage nach, welchen Einfluss die inter-/transkulturellen Lebenserfahrungen auf die LehrerInnen ausubt und rekonstruiert diese systematisch, um sie fur didaktisch-methodische UEberlegungen zu nutzen. Das Buch bedient sich des problemzentrierten Interviews als zentraler Untersuchungsmethode. Die Auswertung der Datenerhebung lasst darauf schliessen, dass Englischlehrer mit Migrationshintergrund ein besonderes Potenzial fur den Englischunterricht aufweisen. Daruber hinaus resultieren die Ergebnisse in der Erweiterung und Modifizierung des ICC/TC-Modells sowie in dem Modell zu portativen Kompetenzen.

From the first book printed in Ireland in the sixteenth century, to the globalised digital media culture of today, Christopher Morash traces the history of forms of communication in Ireland over the past four centuries: the vigorous newspaper and pamphlet culture of the eighteenth century, the spread of popular literacy in the nineteenth century, and the impact of the telegraph, telephone, phonograph, cinema and radio, which arrived in Ireland just as the Irish Free State came into being. Morash picks out specific events for detailed analysis, such as the first radio broadcast, during the 1916 Rising, or the Live Aid concert in 1985. This 2009 book breaks ground within Irish studies. Its accessible narrative explains how Ireland developed into the modern, globally interconnected, economy of today. This is an essential and hugely informative read for anyone interested in Irish cultural history.

With their call for"simplicity, simplicity,  simplicity!", for self-honesty, and for  harmony with nature, the writings of Henry David  Thoreau are perhaps the most influential philosophical  works in all American literature. The selections in  tis volume represent Thoreau at his best. Included  in their entirety are Walden,  his indisputable masterpiece, and his two great  arguments for nonconformity, Civil  Disobedience and Life Without  Principle. A lifetime of brilliant observation of  nature -- and of himself -- is recorded in selections  from A Week On The Concord And Merrimack  Rivers, Cape Cod, The Maine Woods and  The Journal.

While film genres go in and out of style, the romantic comedy endures-from year to year and generation to generation. Endlessly adaptable, the romantic comedy form has thrived since the invention of film as a medium of entertainment, touching on universal predicaments: meeting for the first time, the battle of the sexes, and the bumpy course of true love. These films celebrate lovers who play and improvise together, no matter how nutty or at what great odds they may appear. As Eugene Pallette mutters in My Man Godfrey (1936), "All you need to start an asylum is an empty room and the right kind of people." Daniel Kimmel's book about romantic comedy is like watching a truly funny movie with a knowledgeable friend.

"Inseparable" collects poems written between 1995 and 2005 by the New York poet, editor and novelist Lewis Warsh. Strongly identified with New York since the 1960s, when he co-founded "Angel Hair" magazine with Anne Waldman, Warsh makes poems from the city's linguistic fabric, interwoven with a bemused real-time interiority. The 35 poems of this collection are pitted with reminiscences made approachable to the reader by their lack of self-absorption; it is the momentum of the will to persist by means of language--"moving, word by word"--against the incipient flickerings of mortality, that is their real logic. This act of self-propulsion may be subject to doubt ("Can we spend our lives feeding/off simple endurance?"), but it is humbly pursued: Warsh resists the inflated rhetoric such preoccupations usually attract and sticks instead with (in the words of his colleague Clark Coolidge) "confusion, in strict order."