Where are the dogs in southern African literature? The short answer is: everywhere, if you keep looking. Few texts centralise them, but they appear everywhere in the corners of people's lives: pets walking alongside, strays in the alleys, accompanying policemen, at the dog shows, outhunting, guarding gates. There are also the related canids- jackals, hyenas, wolves-making real and symbolic appearances. Dogs have always been with us, friends and foes in equal measure. This is the first collection of studies on dogs in southern African literatures. The essays range across many dogs' roles: as guides and guards, as victims and threats. They appear in thrillers and short stories. Their complex relations with colonialism and indigeneity are explored, in novels and poetry, in English as well as Shona and Afrikaans. Comparative perspectives are opened up in articles treating French and Russian parallels. This volume aims to start a serious conversation about, and acknowledgement of, the important place dogs have in our society.

Contributions by Beverly Lyon Clark, Christine Doyle, Gregory Eiselein, John Matteson, Joel Myerson, Sandra Harbert Petrulionis, Anne K. Phillips, Daniel Shealy, and Roberta Seelinger Trites As the golden age of children's literature dawned in America in the mid-1860s, Louisa May Alcott's Little Women, a work that many scholars view as one of the first realistic novels for young people, soon became a classic. Never out of print, Alcott's tale of four sisters growing up in nineteenth-century New England has been published in more than fifty countries around the world. Over the century and a half since its publication, the novel has grown into a cherished book for girls and boys alike. Readers as diverse as Carson McCullers, Gloria Steinem, Theodore Roosevelt, Patti Smith, and J. K. Rowling have declared it a favorite. Little Women at 150, a collection of eight original essays by scholars whose research and writings over the past twenty years have helped elevate Alcott's reputation in the academic community, examines anew the enduring popularity of the novel and explores the myriad complexities of Alcott's most famous work. Examining key issues about philanthropy, class, feminism, Marxism, Transcendentalism, canon formation, domestic labor, marriage, and Australian literature, Little Women at 150 presents new perspectives on one of the United States' most enduring novels. A historical and critical introduction discusses the creation and publication of the novel, briefly traces the scholarly critical response, and demonstrates how these new essays show us that Little Women and its illustrations still have riches to reveal to its readers in the twenty-first century.

Near the end of World War II and after, a small-town Nebraska youth, Jimmy Kugler, drew more than a hundred double-sided sheets of comic strip stories. Over half of these six-panel tales retold the Pacific War as fought by "Frogs" and "Toads," humanoid creatures brutally committed to a kill-or-be-killed struggle. The history of American youth depends primarily on adult reminiscences of their own childhoods, adult testimony to the lives of youth around them, or surmises based on at best a few creative artifacts. The survival then of such a large collection of adolescent comic strips from America's small-town Midwest is remarkable. Michael Kugler reproduces the never-before-published comics of his father's adolescent imagination as a microhistory of American youth in that formative era. Also included in Into the Jungle! A Boy's Comic Strip History of World War II are the likely comic book models for these stories and inspiration from news coverage in newspapers, radio, movies, and newsreels. Kugler emphasizes how US propaganda intended to inspire patriotic support for the war gave this young artist a license for his imagined violence. In a context of progressive American educational reform, these violent comic stories, often in settings modeled on the artist's small Nebraska town, suggests a form of adolescent rebellion against moral conventions consistent with comic art's reputation for "outsider" or countercultural expressions. Kugler also argues that these comics provide evidence for the transition in American taste from war stories to the horror comics of the late 1940s and early 1950s. Kugler's thorough analysis of his father's adolescent art explains how a small-town boy from the plains distilled the popular culture of his day for an imagined war he could fight on his audacious, even shocking terms.

One group of ancient Egyptian drawings has captured the curiosity of scholars and laypeople alike: images of animals acting like people. They illustrate animal fables originally from a larger mythological narrative, making them an integral part of New Kingdom Thebes's religious environment. This book examines the purpose of animal fables, drawing cross cultural and temporal comparisons to other storytelling and artistic traditions. This publication is also the first thorough art historical treatment of the ostraca and papyri. The drawings' iconography and aesthetic value are carefully examined, providing further nuance to our understanding of ancient Egyptian art.

Rooted in the day-to-day experience of teaching and written for those without specialist technical knowledge, this is a new edition of the go-to guide to using digital tools and resources in the humanities classroom. In response to the rapidly changing nature of the field, this new edition has been updated throughout and now features: - A brand-new Preface accounting for new developments in the broader field of DH pedagogy - New chapters on 'Collaborating' and on 'Teaching in a Digital Classroom' - New sections on collaborating with other teachers; teaching students with learning differences; explaining the benefits of digital pedagogy to your students; and advising graduate students about the technologies they need to master - New 'advanced activities' and 'advanced assignment' sections (including bots, vlogging, crowd-sourcing, digital storytelling, web scraping, critical making, automatic text generation, and digital media art) - Expanded chapter bibliographies and over two dozen tables offering practical advice on choosing software programs Accompanied by a streamlined companion website, which has been entirely redesigned to answer commonly asked questions quickly and clearly, this is essential reading for anyone looking to incorporate digital tools and resources into their daily teaching.

Infamous for authoring two concepts since favored by government powers seeking license for ruthlessness-the utilitarian notion of privileging the greatest happiness for the most people and the panopticon-Jeremy Bentham is not commonly associated with political emancipation. But perhaps he should be. In his private manuscripts, Bentham agonized over the injustice of laws prohibiting sexual nonconformity, questioning state policy that would put someone to death merely for enjoying an uncommon pleasure. He identified sources of hatred for sexual nonconformists in philosophy, law, religion, and literature, arguing that his goal of "the greatest happiness" would be impossible as long as authorities dictate whose pleasures can be tolerated and whose must be forbidden. Ultimately, Bentham came to believe that authorities worked to maximize the suffering of women, colonized and enslaved persons, and sexual nonconformists in order to demoralize disenfranchised people and prevent any challenge to power. In Uncommon Sense, Carrie Shanafelt reads Bentham's sexual nonconformity papers as an argument for the toleration of aesthetic difference as the foundation for egalitarian liberty, shedding new light on eighteenth-century aesthetics and politics. At odds with the common image of Bentham as a dehumanizing calculator or an eccentric projector, this innovative study shows Bentham at his most intimate, outraged by injustice and desperate for the end of sanctioned, discriminatory violence.

The German poet and mystic Novalis once identified philosophy as a form of homesickness. More than two centuries later, as modernity's displacements continue to intensify, we feel Novalis's homesickness more than ever. Yet nowhere has a longing for home flourished more than in contemporary environmental thinking, and particularly in eco-phenomenology. If only we can reestablish our sense of material enmeshment in nature, so the logic goes, we might reverse the degradation we humans have wrought-and in saving the earth we can once again dwell in the nearness of our own being. Unsettling Nature opens with a meditation on the trouble with such ecological homecoming narratives, which bear a close resemblance to narratives of settler colonial homemaking. Taylor Eggan demonstrates that the Heideggerian strain of eco-phenomenology-along with its well-trod categories of home, dwelling, and world-produces uncanny effects in settler colonial contexts. He reads instances of nature's defamiliarization not merely as psychological phenomena but also as symptoms of the repressed consciousness of coloniality. The book at once critiques Heidegger's phenomenology and brings it forward through chapters on Willa Cather, D. H. Lawrence, Olive Schreiner, Doris Lessing, and J. M. Coetzee. Suggesting that alienation may in fact be "natural" to the human condition and hence something worth embracing instead of repressing, Unsettling Nature concludes with a speculative proposal to transform eco-phenomenology into "exo-phenomenology"-an experiential mode that engages deeply with the alterity of others and with the self as its own Other.

It's often said that we are what we wear. Tracing an American trajectory in fashion, Lauren Cardon shows how we become what we wear. Over the twentieth century, the American fashion industry diverged from its roots in Paris, expanding and attempting to reach as many consumers as possible. Fashion became a tool for social mobility. During the late twentieth century, the fashion industry offered something even more valuable to its consumers: the opportunity to explore and perform. The works Cardon examines by Sylvia Plath, Jack Kerouac, Toni Morrison, Sherman Alexie, and Aleshia Brevard, among others illustrate how American fashion, with its array of possibilities, has offered a vehicle for curating public personas. Characters explore a host of identities as fashion allows them to deepen their relationships with ethnic or cultural identity, to reject the social codes associated with economic privilege, or to forge connections with family and community. These temporary transformations, or performances, show that identity is a process constantly negotiated and questioned, never completely fixed.

Guided by the thesis that literature can transform social reality, Tirana Modern draws on ethnographic and historical material to examine the public culture of reading in modern Albania. Formulated as a question, the topic of the book is: How has Albanian literature and literary translation shaped social action during the longue duree of Albanian modernity? Drawing on material from the independent Albanian publisher, Pika pa siperfaqe ("Point without Surface"), Tirana Modern provides a tightly focused ethnography of literary culture in Albania that brings into relief the more general dialectic between social imagination and social reality as mediated by reading and literature.

Contributions by Cecile Accilien, Maria Rice Bellamy, Gwen Bergner, Olga Blomgren, Maia L. Butler, Isabel Caldeira, Nadege T. Clitandre, Thadious Davis, Joanna Davis-McElligatt, Laura Dawkins, Megan Feifer, Delphine Gras, Akia Jackson, Tammie Jenkins, Shewonda Leger, Jennifer Lozano, Marion Rohrleitner, Thomas Rothe, Erika Serrato, Lucia Stecher, and Joyce White Narrating History, Home, and Dyaspora: Critical Essays on Edwidge Danticat contains fifteen essays addressing how Edwidge Danticat's writing, anthologizing, and storytelling trace, (re)construct, and develop alternate histories, narratives of nation building, and conceptions of home and belonging. The prolific Danticat is renowned for novels, collections of short fiction, nonfiction, and editorial writing. As her experimentation in form expands, so does her force as a public intellectual. Danticat's literary representations, political commentary, and personal activism have proven vital to classroom and community work imagining radical futures. Among increasing anti-immigrant sentiment and containment and rampant ecological volatility, Danticat's contributions to public discourse, art, and culture deserve sustained critical attention. These essays offer essential perspectives to scholars, public intellectuals, and students interested in African diasporic, Haitian, Caribbean, and transnational American literary studies. This collection frames Danticat's work as an indictment of statelessness, racialized and gendered state violence, the persistence of political and economic margins, and the essential vitality of life in and as dyaspora. The first section of this volume, "The Other Side of the Water," engages with Danticat's construction and negotiation of nation, both in Haiti and the United States; the broader dyaspora; and her own, her family's, and her fictional characters' places within them. The second section, "Welcoming Ghosts," delves into the ever-present specter of history and memory, prominent themes found throughout Danticat's work. From origin stories to broader Haitian histories, this section addresses the underlying traumas involved when remembering the past and its relationship to the present. The third section, "I Speak Out," explores the imperative to speak, paying particular attention to the narrative form with which such telling occurs. The fourth and final section, "Create Dangerously," contends with Haitians' activism, community building, and the political and ecological climate of Haiti and its dyaspora.

In die afgelope bykans 30 jaar het 'n groot leemte ontstaan aan omvattende verwysingsbronne en handboeke in die Afrikaanse taalkunde wat op universiteitsvlak voorgeskryf kan word. In 2014 word hierdie leemte gevul deur Kontemporere Afrikaanse Taalkunde. Die feit dat 'n tweede, hersiene uitgawe slegs drie jaar later verskyn, beklemtoon weereens die groot behoefte aan so 'n bron. Die samestelling van hierdie boek bied 'n nuwe blik op die taalkunde en het wye gebruikspotensiaal omdat dit die kernvelde van die taalkunde, en in die besonder van die Afrikaanse taalkunde, dek. Sodoende gee dit nuwe lewe aan 'n belangrike komponent in die bestudering van die Afrikaanse taal: die taalkunde en alles wat daarmee saamhang. Inhoud en konsepte strek van die ontstaan en aard van die Afrikaanse taal, leksikografie en dokumentontwerp tot fonetiek, fonologie, morfologie, sintaksis, semantiek, pragmatiek, taalverwerwing en die normatiewe taalkunde. Al die bestaande hoofstukke is op datum gebring, en 'n ekstra hoofstuk oor sintaksis is bygevoeg om nuwer sieninge te weerspieel. Bydraes deur spesialiste in die onderskeie velde bied daarom die nuutste navorsing en 'n verskeidenheid teoretiese vertrekpunte met die Afrikaanse taalkunde as fokus. Nuwe en moontlik selfs omstrede standpunte sal akademiese gesprek stimuleer, terwyl elke hoofstuk nasionale en internasionale ontwikkelinge op die bepaalde gebied voorle aan 'n nuwe geslag studente, onderwysers, akademici en taalpraktisyns.

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock's Saving Mr. Banks (2013); Richard Linklater's oeuvre; Paul Greengrass's United 93 (2006); Oliver Stone's World Trade Center (2006); Stephen Daldry's Extremely Loud and Incredibly Close (2011); and Christopher Nolan's Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.

In Conscious Theatre Practice: Yoga, Meditation, and Performance, Lou Prendergast charts a theatre research project in which the notion of Self-realisation and related contemplative practices, including Bikram Yoga and Vipassana meditation, are applied to performance. Coining the term 'Conscious Theatre Practice', Prendergast presents the scripts of three publicly presented theatrical performances, examined under the 'three C's' research model: Conscious Craft (writing, directing, performance; Conscious Casting; Conscious Collaborations. The findings of this autobiographical project fed into a working manifesto for socially engaged theatre company, Black Star Projects. Along the way, the research engages with methodological frameworks that include practice-as-research, autoethnography, phenomenology and psychophysical processes, as well immersive yoga and meditation practice; while race, class and gender inequalities underpin the themes of the productions.

This book is about what does not happen in the Victorian novel. The description may sound absurd, yet consideration of alternatives to a given state of affairs is crucial to our understanding of a novel. Plot emerges out of the gradual elimination of possibilities, from the revelation, on the first page of a work, that we are in nineteenth-century London and not sixteenth-century Paris, to the final disclosure that Pip returns home too late to marry Biddy but is now free to pursue his lost love Estella. Through careful examination of the plots of such classics as Charles Dickens's Great Expectations, Charlotte Bronte's Villette, Wilkie Collins's The Moonstone, Jane Austen's Pride and Prejudice, Henry James's The Ambassadors, Elizabeth Gaskell's Mary Barton, and others, Glatt argues for the central role of these "unwritten plots" in Victorian narrative construction. Abandoning the allegorical mode-in which characters are bound by fixed identities to reach a predetermined conclusion-and turning away from classical and historical plots with outcomes already known to audiences, the realist novel of the Victorian era was designed to simulate the openness and uncertainty of ordinary human experience. We are invested in these stories of David Copperfield or Elizabeth Bennet or Lucy Snowe in part because we cannot be entirely sure how those stories will end. As Glatt demonstrates, the Victorian novel is characterized by a proliferation of possibilities.

From the 1950s to the 1970s, the idea of independence inspired radical changes across the French-speaking world. In The Quebec Connection, Julie-Francoise Tolliver examines the links and parallels that writers from Quebec, the Caribbean, and Africa imagined to unite that world, illuminating the tropes they used to articulate solidarities across the race and class differences that marked their experience. Tolliver argues that the French tongue both enabled and delimited connections between these writers, restricting their potential with the language's own imperial history. The literary map that emerges demonstrates the plurality of French-language literatures, going beyond the concept of a single, unitary francophone literature to appreciate the profuse range of imaginaries connected by solidary texts that hoped for transformative independence.Importantly, the book expands the "francophone" framework by connecting African and Caribbean literatures to Quebecois literature, attending to their interactions while recognizing their particularities. The Quebec Connection's analysis of transnational francophone solidarities radically alters the field of francophone studies by redressing the racial logic that isolates the northern province from what has come to be called the postcolonial world.

Who has the right to decide how nature is used, and in what ways? Recovering an overlooked thread of seventeenth- and eighteenth-century environmental thought, Erin Drew shows that English writers of the period commonly believed that human beings had only the "usufruct" of the earth the "right of temporary possession, use, or enjoyment of the advantages of property belonging to another, so far as may be had without causing damage or prejudice." The belief that human beings had only temporary and accountable possession of the world, which Drew labels the ""usufructuary ethos,"" had profound ethical implications for the ways in which the English conceived of the ethics of power and use. Drew's book traces the usufructuary ethos from the religious and legal writings of the seventeenth century through mid-eighteenth-century poems of colonial commerce, attending to the particular political, economic, and environmental pressures that shaped, transformed, and ultimately sidelined it. Although a study of past ideas, The Usufructuary Ethos resonates with contemporary debates about our human responsibilities to the natural world in the face of climate change and mass extinction.

As a socialist monarchist, Jewish Catholic, skeptical mystic, and humorous sage, Roth has never fitted neatly into any one literary or historical category. The essays in this volume, devoted to the Austrian writer Joseph Roth on the occasion of the fiftieth anniversary of his death in Paris in 1939, take a fresh look at his apparent contradictions and demonstrate his contemporary relevance as an acute analyst of the relationship between private life and political change.