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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.
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."
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."
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.
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.
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.
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