Corruption Plots illuminates how corruption is fundamental to global storytelling about how states and elites abuse entrusted power in late capitalism. The millennial city of the global South is a charged setting for allegations of corruption, with skyscrapers, land grabs, and slum evictions invoking outrage at deepening economic polarization. Drawing on ethnography in Bengaluru and Mumbai and a cross-section of literary and cinematic stories from cities around the world, Malini Ranganathan, David L. Pike, and Sapana Doshi pay close attention to the racial, caste, class, and gender locations of the narrators, spaces, and publics imagined to be harmed by corruption. Corruption Plots demonstrates how corruption talk is leveraged to make sense of unequal spatial change and used opportunistically by those who are themselves implicated in wrongdoing. Offering a wide-ranging analysis of urban worlds, the authors reveal the ethical, spatial, and political stakes of storytelling and how vital it is to examine the corruption plot in all its contradictions.

In Metropolis on the Styx, David L. Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. Expanding on the cultural history of underground construction in his acclaimed previous book, Subterranean Cities, Pike details the emergence of a vertical city in the imagination of nineteenth-century Paris and London, a city overseen by hosts of devils and undermined by subterranean villains, a city whose ground level was replete with passages between above and below. Metropolis on the Styx brings together a rich variety of visual and written sources ranging from pulp mysteries and movie serials to the poetry of Charles Baudelaire and the novels of Marcel Proust, F. Scott Fitzgerald, and Elinor Glyn to the broadsheets and ephemera of everyday urban life. From these materials, Pike conjures a working theory of modern underground space that explains why our notions about urban environments remain essentially nineteenth-century in character, even though cities themselves have since changed almost beyond recognition.Highly original in subject matter, methodology, and conclusions, Metropolis on the Styx synthesizes a number of critical approaches, periods of study, and disciplines in the analysis of a single category of space the underground. Pike studies the built environments and the textual and visual ephemera (including little-known or unknown archival material) of Paris, London, and other cities in conjunction with canonical modern literature and art. This book integrates a rich visual component photographs, movie stills, prints, engravings, paintings, cartoons, maps, and drawings of actual and imagined subterranean spaces into the fabric of the argument."

In Metropolis on the Styx, David L. Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. Expanding on the cultural history of underground construction in his acclaimed previous book, Subterranean Cities, Pike details the emergence of a vertical city in the imagination of nineteenth-century Paris and London, a city overseen by hosts of devils and undermined by subterranean villains, a city whose ground level was replete with passages between above and below. Metropolis on the Styx brings together a rich variety of visual and written sources ranging from pulp mysteries and movie serials to the poetry of Charles Baudelaire and the novels of Marcel Proust, F. Scott Fitzgerald, and Elinor Glyn to the broadsheets and ephemera of everyday urban life. From these materials, Pike conjures a working theory of modern underground space that explains why our notions about urban environments remain essentially nineteenth-century in character, even though cities themselves have since changed almost beyond recognition.Highly original in subject matter, methodology, and conclusions, Metropolis on the Styx synthesizes a number of critical approaches, periods of study, and disciplines in the analysis of a single category of space the underground. Pike studies the built environments and the textual and visual ephemera (including little-known or unknown archival material) of Paris, London, and other cities in conjunction with canonical modern literature and art. This book integrates a rich visual component photographs, movie stills, prints, engravings, paintings, cartoons, maps, and drawings of actual and imagined subterranean spaces into the fabric of the argument."

The underground has been a dominant image of modern life since the late eighteenth century. A site of crisis, fascination, and hidden truth, the underground is a space at once more immediate and more threatening than the ordinary world above. In Subterranean Cities, David L. Pike explores the representation of underground space in the nineteenth and early twentieth centuries, a period during which technology and heavy industry transformed urban life. The metropolis had long been considered a moral underworld of iniquity and dissolution. As the complex drainage systems, underground railways, utility tunnels, and storage vaults of the modern cityscape superseded the countryside of caverns and mines as the principal location of actual subterranean spaces, ancient and modern converged in a mythic space that was nevertheless rooted in the everyday life of the contemporary city.

The underground has been a dominant image of modern life since the late eighteenth century. A site of crisis, fascination, and hidden truth, the underground is a space at once more immediate and more threatening than the ordinary world above. In Subterranean Cities, David L. Pike explores the representation of underground space in the nineteenth and early twentieth centuries, a period during which technology and heavy industry transformed urban life.The metropolis had long been considered a moral underworld of iniquity and dissolution. As the complex drainage systems, underground railways, utility tunnels, and storage vaults of the modern cityscape superseded the countryside of caverns and mines as the principal location of actual subterranean spaces, ancient and modern converged in a mythic space that was nevertheless rooted in the everyday life of the contemporary city. Writers and artists from Felix Nadar and Charles Baudelaire to Charles Dickens and Alice Meynell, Gustave Dore and Victor Hugo, George Gissing and Emile Zola, and Jules Verne and H. G. Wells integrated images of the urban underworld into their portrayals of the anatomy of modern society. Illustrated with photographs, movie stills, prints, engravings, paintings, cartoons, maps, and drawings of actual and imagined urban spaces, Subterranean Cities documents the emergence of a novel space in the subterranean obsessions and anxieties within nineteenth-century urban culture. Chapters on the subways, sewers, and cemeteries of Paris and London provide a detailed analysis of these competing centers of urban modernity. A concluding chapter considers the enduring influence of these spaces on urban culture at the turn of the twenty-first century."

Taking the culturally resonant motif of the descent to the underworld as his guiding thread, David L. Pike traces the interplay between myth and history in medieval and modernist literature. Passage through Hell suggests new approaches to the practice of comparative literature, and a possible escape from the current morass of competing critical schools and ideologies. Pike's readings of Louis Ferdinand Celine and Walter Benjamin reveal the tensions at work in the modern appropriation of structures derived from ancient and medieval descents. His book shows how these structures were redefined in modernism and persist in contemporary critical practice. In order to recover the historical corpus of modernism, he asserts, it is necessary to acknowledge the attraction that medieval forms and motifs held for modernist literature and theory. By pairing the writings of the postwar German dramatist and novelist Peter Weiss with Dante's Commedia, and Christine de Pizan with Virginia Woolf, Pike argues for a new level of complexity in the relation between medieval and modern poetics. Pike's supple and persuasive reading of the Commedia resituates that text within the contradictions of medieval tradition. He contends that the Dantean allegory of conversion, altered to suit the exigencies of modernism, maintains its hold over current literature and theory. The postwar writers Pike treats-Weiss, Seamus Heaney, and Derek Walcott-exemplify alternate strategies for negotiating the legacy of modernism. The passage through hell emerges as a way of disentangling images of the past from their interpretation in the present.

Corruption Plots illuminates how corruption is fundamental to global storytelling about how states and elites abuse entrusted power in late capitalism. The millennial city of the global South is a charged setting for allegations of corruption, with skyscrapers, land grabs, and slum evictions invoking outrage at deepening economic polarization. Drawing on ethnography in Bengaluru and Mumbai and a cross-section of literary and cinematic stories from cities around the world, Malini Ranganathan, David L. Pike, and Sapana Doshi pay close attention to the racial, caste, class, and gender locations of the narrators, spaces, and publics imagined to be harmed by corruption. Corruption Plots demonstrates how corruption talk is leveraged to make sense of unequal spatial change and used opportunistically by those who are themselves implicated in wrongdoing. Offering a wide-ranging analysis of urban worlds, the authors reveal the ethical, spatial, and political stakes of storytelling and how vital it is to examine the corruption plot in all its contradictions.

The world is growing smaller every day. In today's increasingly global culture, we all need to become familiar with other traditions, and literature provides an exciting and enjoyable mode of entry into the variety of the world's cultures. Exciting, but also challenging: works from distant times and places expose us to unfamiliar names, customs, beliefs, and literary forms. "The Longman Anthology "is designed to open up the horizons of world literature, placing major works within their cultural contexts and fostering connections and conversations between eras as well as regions. Engaging introductions, regional maps, pronunciation guides, and a wealth of illustrations inform and enrich the experience of reading the compelling works included here, opening out a fresh and diverse range of the world's great literature. In the second edition of "The Longman Anthology": Major works are included from around the world: Many are given in their entirety, from "The Epic of Gilgamesh" and Homer's "Odyssey" to Dante's "Inferno," Moliere's "Tartuffe," Chikamatsu's "Love Suicides at Amijima," and Achebe's "Things Fall Apart," We also include extensive selections from such great works as "The Aeneid," "The Tale of Genji," "The Thousand and One Nights, "and" Don Quixote," Perspectives sections group together works around major literary and cultural issues. These sections are now followed by Crosscurrents, which highlight additional connections for you to explore. Often presented as thought questions, these prompts could provide you with the essay topic for your next paper. New Translation units willhelp you to understand the key role of translation in the life of world literature. Passages in theoriginal language are accompanied by two or three translations that show how differently translators can choose to convey the original in expressive new ways. You will enjoy finding new meaning in the original work as you trace the ways literature evolves for generations of readers. An enhanced Companion Website gives you the opportunity to take practice quizzes, explore an interactive timeline, review literary terms, listen to an audio glossary that provides pronunciations of unfamiliar names, and listen to audio recordings of the passages given in our Translationsections. Through all these means, "The Longman Anthology" will support and enrich your experience as you explore the many worlds of world literature.