Dante, the pilgrim, is the image of an author who stubbornly looks ahead, seeking and building the "Great Beyond" (Manguel). Following in his footsteps is therefore not a return to the past, going a rebours, but a commitment to the future, to exploring the potential of humanity to "transhumanise". This dynamic of self-transcendence in Dante's humanism (Ossola), which claims for European civilisation a vocation for universalism (Ferroni), is analysed in the volume at three crucial moments: Firstly, the establishment of an emancipatory relationship between author and reader (Ascoli), in which authorship is authority and not power; secondly, the conception of vision as a learning process and horizon of eschatological overcoming (Mendonca); finally, the relationship with the past, which is never purely monumental, but ethically and intertextually dynamic, in an original rewriting of the original scriptural, medieval, and classical culture (Nasti, Bolzoni, Bartolomei). A second group of contributions is dedicated to the reconstruction of Dante's presence in Portuguese literature (Almeida, Espirito Santo, Figueiredo, Marnoto, Vaz de Carvalho): they attest to the innovative impact of Dante's work even in literary traditions more distant from it.

In 1984 Fredric Jameson wrote that "everything in our social life-from economic value and state power to practices and to the very structure of the psyche itself-can be said to have become 'cultural' in some original and yet untheorized sense." The essays in this special issue track the status of this claim some thirty years later, inquiring into the relationship of art, aesthetics, and cultural production to political economy today. At a moment when interpretation (including "ideology critique" and "symptomatic reading") has been variously supplanted by descriptivism, empiricism, and the return of metaphysics, contributors here pursue the possibilities for an engaged cultural criticism that is attentive to form while rejecting a depoliticized formalism. Spanning a wide range of cultural sites-from recent Hollywood cinema to post-broadcast television, manufactured landscape photography, contemporary West African art, and "new materialism" in philosophy-they ask what the "formal tendencies" of contemporary cultural production (including theory itself) can tell us about the cultural logic of contemporary capitalism. The collection includes a new interview with Jameson conducted by the editors. Contributors: Jennifer Bajorek, Nico Baumbach, Jonathan Beller, Alexander R. Galloway, Fredric Jameson, Sulgi Lie, Alberto Toscano, Amy Villarejo, Damon R. Young, Genevieve Yue

This thoroughly updated fourth edition of Critical Theory Today offers an accessible introduction to contemporary critical theory, providing in-depth coverage of the most common approaches to literary analysis today, including: feminism; psychoanalysis; Marxism; reader-response theory; New Criticism; structuralism and semiotics; deconstruction; new historicism and cultural criticism; lesbian, gay, and queer theory; African American criticism; postcolonial criticism, and ecocriticism. This new edition features: * A brand new chapter on ecocriticism, including sections on deep ecology, eco-Marxism, ecofeminism (including radical, Marxist, and vegetarian ecofeminisms), and postcolonial ecocriticism and environmental justice * Considerable updates to the chapters on feminist theory, African American theory, postcolonial theory, and LGBTQ theories, including the terminology and theoretical concepts * An extended explanation of each theory, using examples from everyday life, popular culture, and a variety of literary texts * A list of specific questions critics ask about literary texts * An interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory * A list of questions for further practice to guide readers in applying each theory to different literary works * Updated and expanded bibliographies Both engaging and rigorous, this is a "how-to" book for undergraduate and graduate students new to critical theory and for college professors who want to broaden their repertoire of critical approaches to literature.

Metaphysics of Children's Literature is the first sustained study of ways in which children's literature confronts metaphysical questions about reality and the nature of what there is in the world. In its exploration of something and nothing, this book identifies a number of metaphysical structures in texts for young people-such as the ontological exchange or nowhere in extremis-demonstrating that their entanglement with the workings of reality is unique to the conditions of children's literature. Drawing on contemporary children's literature discourse and metaphysicians from Heidegger and Levinas, to Bachelard, Sartre and Haraway, Lisa Sainsbury reveals the metaphysical groundwork of children's literature. Authors and illustrators covered include: Allan and Janet Ahlberg, Mac Barnett, Ron Brooks, Peter Brown, Lewis Carroll, Eoin Colfer, Gary Crew, Roald Dahl, Roddy Doyle, Imme Dros, Sarah Ellis, Mem Fox, Zana Fraillon, Libby Gleeson, Kenneth Grahame, Armin Greder, Sonya Hartnett, Tana Hoban, Judy Horacek, Tove Jansson, Oliver Jeffers, Jon Klassen, Elaine Konigsburg, Norman Lindsay, Geraldine McCaughrean, Robert Macfarlane, Jackie Morris, Edith Nesbit, Mary Norton, Jill Paton Walsh, Philippa Pearce, Ivan Southall, William Steig, Shaun Tan, Tarjei Vesaas, David Wiesner, Margaret Wild, Jacqueline Woodson and many others.

Vacillating between the longue duree and microhistory, between ideological critique and historical sympathy, between the contrary formalisms of close and distant reading, literary historians operate with such disparate senses of what the term "history" means that the field risks compartmentalization and estrangement. The Romantic Historicism to Come engages this uncertainty in order to construct a more robust, more capacious idea of history. Focusing attention on Romantic conceptions of history's connection to the future, The Romantic Historicism to Come examines the complications of not only Romantic historicism, but also our own contemporary critical methods: what would it mean if the causal assumptions that underpin our historical judgments do not themselves develop in a stable, progressive manner? Articulating history's minimum conditions, Jonathan Crimmins develops a theoretical apparatus that accounts for the concurrent influence of the various sociohistorical forces that pressure each moment. He provides a conception of history as open to radical change without severing its connection to causality, better addressing the problem of the future at the heart of questions about the past.

Part literary history, part personal memoir, Alice Brittan's beautifully written The Art of Astonishment explores the rich intellectual, religious, and philosophical history of the gift and tells the interconnected story of grace: where it comes from and what it is believed to accomplish. Covering a remarkable range of materials-from The Epic of Gilgamesh, The Iliad, and the tragedies of Classical Greece, through the brothers Grimm and Montaigne, to C. S. Lewis, Toni Morrison, J. M. Coetzee, Elena Ferrante, Karl Ove Knausgaard, and Jhumpa Lahiri-Brittan moves with ease from personal story to myth, to theology, to literature and analysis, examining the nature of social and communal obligation, the role of the intellectual in times of crisis, and the pleasures of reading. In the 21st century, we might imagine grace as a striking and refined quality that is pleasurable to encounter but certainly not fundamental to anyone's existence or to the beliefs and practices that hold us together or drive us apart. For millennia, though, it has been recognized as essential to the vitality of inner life, as well as to the large-scale shifts in perspective and legislation that improve the way we live as a society. Grace is also astonishing-always-as the enormously insightful readings in The Art of Astonishment show. Brittan reveals the concept's breadth as sacred and secular, ancient and recent, lived and literary. And in so doing, she shows us how the act of reading is like grace-social but personal, pleasurable and essential.

Is poetry still relevant today, or is it merely a dwindling historical art? How have poets of the recent past dealt with challenges to poetics? Seeking to chart the poetic act in a period not so much hostile as indifferent to poetry, Language at the Boundaries outlines spaces where poetry and poetics emerge in migration, translation, world literature, canon formation, and the history of science and technology. One can only come so close to fully possessing or explaining everything about the poetic act, and this book grapples with these limits by perusing, analyzing, deconstructing, and reconstructing creativity, implementing different approaches in doing so. Peter Carravetta consolidates historical epistemological positions that have accrued over the last several decades, some spurred by the modernism/postmodernism debate, and unpacks their differences--juxtaposing Vico with Heidegger and applying the approaches of translation studies, decolonization, indigeneity, committed literature, and critical race theory, among others. What emerges is a defense and theory of poetics in the contemporary world, engaging the topic in a dialectic mode and seeking grounds of agreement.

Narrative theory goes back to Plato. It is an approach that tries to understand the abstract mechanism behind the story. This theory has evolved throughout the years and has been adopted by numerous domains and disciplines. Narrative therapy is one of many fields of narrative that emerged in the 1990s and has turned into a rich research field that feeds many disciplines today. Further study on the benefits, opportunities, and challenges of narrative therapy is vital to understand how it can be utilized to support society. Narrative Theory and Therapy in the Post-Truth Era focuses on the structure of the narrative and the possibilities it offers for therapy as well as the post-modern sources of spiritual conflict and how to benefit from the possibilities of the narrative while healing them. Covering topics such as psychotherapy, cognitive narratology, art therapy, and narrative structures, this reference work is ideal for therapists, psychologists, communications specialists, academicians, researchers, practitioners, scholars, instructors, and students.

Authorship's Wake examines the aftermath of the 1960s critique of the author, epitomized by Roland Barthes's essay, "The Death of the Author." This critique has given rise to a body of writing that confounds generic distinctions separating the literary and the theoretical. Its archive consists of texts by writers who either directly participated in this critique, as Barthes did, or whose intellectual formation took place in its immediate aftermath. These writers include some who are known primarily as theorists (Judith Butler), others known primarily as novelists (Zadie Smith, David Foster Wallace), and yet others whose texts are difficult to categorize (the autofiction of Chris Kraus, Sheila Heti, and Ben Lerner; the autotheory of Maggie Nelson). These writers share not only a central motivating question - how to move beyond the critique of the author-subject - but also a way of answering it: by writing texts that merge theoretical concerns with literary discourse. Authorship's Wake traces the responses their work offers in relation to four themes: communication, intention, agency, and labor.

In this volume, we approach the phenomenon of slavery and other types of strong asymmetrical dependencies from two methodologically and theoretically distinct perspectives: semantics and lexical fields. Detailed analyses of key terms that are associated with the conceptualization of strong asymmetrical dependencies promise to provide new insights into the self-concept and knowledge of pre-modern societies. The majority of these key terms have not been studied from a semantic or terminological perspective so far. Our understanding of lexical fields is based on an onomasiological approach - which linguistic items are used to refer to a concept? Which words are used to express a concept? This means that the concept is a semantic unit which is not directly accessible but may be manifested in different ways on the linguistic level. We are interested in single concepts such as 'wisdom' or 'fear', but also in more complex semantic units like 'strong asymmetrical dependencies'. In our volume, we bring together and compare case studies from very different social orders and normative perspectives. Our examples range from Ancient China and Egypt over Greek and Maya societies to Early Modern Russia, the Ottoman Empire and Islamic and Roman law.

The notion of the posthuman continues to both intrigue and confuse, not least because of the huge number of ideas, theories and figures associated with this term. More Posthuman Glossary provides a way in to the dizzying array of posthuman concepts, providing vivid accounts of emerging terms. It is much more than a series of definitions, however, in that it seeks to imagine and predict what new terms might come into being as this exciting field continues to expand. A follow-up volume to the brilliant interventions of Posthuman Glossary (2018), this book extends and elaborates on that work, particularly focusing on concepts of race, indigeneity and new ideas in radical ecology. It also includes new and emerging voices within the new humanities and multiple modes of communicating ideas. This is an indispensible glossary for those who are exploring what the non-human, inhuman and posthuman might mean in the 21st century.

A thought-provoking contribution to the renaissance of interest in Bergson, this study brings him to a new generation of readers. Ansell-Pearson contends that there is a Bergsonian revolution, an upheaval in philosophy comparable in significance to those that we are more familiar with, from Kant to Nietzsche and Heidegger, that make up our intellectual modernity. The focus of the text is on Bergson's conception of philosophy as the discipline that seeks to 'think beyond the human condition'. Not that we are caught up in an existential predicament when the appeal is made to think beyond the human condition; rather that restricting philosophy to the human condition fails to appreciate the extent to which we are not simply creatures of habit and automatism, but also organisms involved in a creative evolution of becoming. Ansell-Pearson introduces the work of Bergson and core aspects of his innovative modes of thinking; examines his interest in Epicureanism; explores his interest in the self and in time and memory; presents Bergson on ethics and on religion, and illuminates Bergson on the art of life.

Over the past three decades, no critical movement has been more prominent in Shakespeare Studies than new historicism. And yet, it remains notoriously difficult to pin down, define and explain, let alone analyze. Shakespeare and New Historicist Theory provides a comprehensive scholarly analysis of new historicism as a development in Shakespeare studies while asking fundamental questions about its status as literary theory and its continued usefulness as a method of approaching Shakespeare's plays.

Perhaps nowhere in India is contemporary politics and visions of 'the political' as diverse, animated, uncontainable, and poorly understood as in Northeast India. Vernacular Politics in Northeast India offers penetrating accounts into what guides and animates Northeast India's spirited political sphere, including the categories and values through which its peoples conceive of their 'political' lives. Fourteen essays by anthropologists, political scientists, historians, and geographers think their way afresh into the region's political life and sense. Collectively they show how different communities, instead of adjusting themselves to modern democratic ideals, adjust democracy to themselves, how ethnicity has become a politically pregnant expression of local identities, and how forms and politics of indigeneity assume a life of its own as it is taken on, articulated, reworked, and fought over by peoples.

During the COVID-19 pandemic, many people had to cope with isolation due to lockdown policies that forced them to engage in fewer social activities. People were confined to the small space of their dwellings and felt constrained and socially isolated and deprived of meaningful social interaction and affection, which caused stress and anxiety. Several initiatives were put in place to help diminish the effects of isolation, such as those involving literature either through writing or reading. Managing Pandemic Isolation With Literature as Therapy explains the positive medical and psychological effects of literature and writing during a pandemic at a time when isolation prevented people from engaging with others socially. Covering topics such as clinical psychology, brain neurology, and stress, this reference work is ideal for psychologists, medical professionals, policymakers, government officials, researchers, scholars, academicians, practitioners, instructors, and students.

In The Ethics of Theory, Robert Doran offers the first broad assessment of the ethical challenges of Critical Theory across the humanities and social sciences, calling into question the sharp dichotomy typically drawn between the theoretical and the ethical, the analytical and the prescriptive. In a series of discrete but interrelated interventions, Doran exposes the ethical underpinnings of theoretical discourses that are often perceived as either oblivious to or highly skeptical of any attempt to define ethics or politics. Doran thus discusses a variety of themes related to the problematic status of ethics or the ethico-political in Theory: the persistence of existentialist ethics in structuralist, poststructuralist, and postcolonial writing; the ethical imperative of the return of the subject (self-creation versus social conformism); the intimate relation between the ethico-political and the aesthetic (including the role of literary history in Erich Auerbach and Edward Said); the political implications of a "philosophy of the present" for Continental thought (including Heidegger's Nazism); the ethical dimension of the debate between history and theory (including Hayden White's idea of the "practical past" and the question of Holocaust representation); the "ethical turn" in Foucault, Derrida, and Rorty; the post-1987 "political turn" in literary and cultural studies (especially as influenced by Said). Drawing from a broad range of Continental philosophers and cultural theorists, including many texts that have only recently become available, Doran charts a new path that recognizes the often complex motivations that underlie the critical impulse, motivations that are not always apparent or avowed.

How does Cajun literature, emerging in the 1980s, represent the dynamic processes of remembering in Cajun culture? Known for its hybrid constitution and deeply ingrained oral traditions, Cajun culture provides an ideal testing ground for investigating the collective memory of a group. In particular, francophone and anglophone Cajun texts by such writers as Jean Arceneaux, Tim Gautreaux, Jeanne Castille, Zachary Richard, Ron Thibodeaux, Darrell Bourque, and Kirby Jambon reveal not only a shift from an oral to a written tradition. They also show hybrid perspectives on the Cajun collective memory. Based on recurring references to place, the texts also reflect on the (Acadian) past and reveal the innate ability of the Cajuns to adapt through repeated intertextual references. The Cajun collective memory is thus defined by a transnational outlook, a transversality cutting across various ethnic heritages to establish and legitimize a collective identity both amid the linguistic and cultural diversity in Louisiana, and in the face of American mainstream culture. Cajun Literature and Cajun Collective Memory represents the first analysis of the mnemonic strategies Cajun writers use to explore and sustain the Cajun identity and collective memory.