Dramas of Culture is shaped by twelve carefully interwoven interdisciplinary essays on the role of performance as inscribed within contemporary cultural debate. Part One addresses the recent cultural turn in scholarship and public affairs and offers three provocative discussions of its genealogy, goals, and shortcomings. Underpinning these arguments are the key dramatic elements of language, performativity, and spectacle. Part Two stresses the constitutive roles of scene and setting, melodrama, and tragic conflict for literary theory, political thought, and dialectical philosophy, each with direct bearings on contemporary cultural studies. Parts Three and Four turn to the intellectual and cultural significance of specific plays in the Western repertoire. Part Three examines several major efforts to rethink the nature of tragedy as a dramatic genre, emphasizing its capacity to reveal the fragility and provisionality of culture, while Part Four focuses on prominent examples of the shifting relations among drama, history, and processes of cultural change.

Dramas of Culture is shaped by twelve carefully interwoven interdisciplinary essays on the role of performance as inscribed within contemporary cultural debate. Part One addresses the recent cultural turn in scholarship and public affairs and offers three provocative discussions of its genealogy, goals, and shortcomings. Underpinning these arguments are the key dramatic elements of language, performativity, and spectacle. Part Two stresses the constitutive roles of scene and setting, melodrama, and tragic conflict for literary theory, political thought, and dialectical philosophy, each with direct bearings on contemporary cultural studies. Parts Three and Four turn to the intellectual and cultural significance of specific plays in the Western repertoire. Part Three examines several major efforts to rethink the nature of tragedy as a dramatic genre, emphasizing its capacity to reveal the fragility and provisionality of culture, while Part Four focuses on prominent examples of the shifting relations among drama, history, and processes of cultural change.

A New York Times Book Review Editors’ Choice In 1858, challenger Abraham Lincoln debated incumbent Stephen Douglas seven times in the race for a U.S. Senate seat from Illinois. More was at stake than slavery in those debates. In Lincoln’s Tragic Pragmatism, John Burt contends that the very legitimacy of democratic governance was on the line. In a United States stubbornly divided over ethical issues, the overarching question posed by the Lincoln-Douglas debates has not lost its urgency: Can a liberal political system be used to mediate moral disputes? And if it cannot, is violence inevitable? “John Burt has written a work that every serious student of Lincoln will have to read...Burt refracts Lincoln through the philosophy of Kant, Rawls and contemporary liberal political theory. His is very much a Lincoln for our time.” —Steven B. Smith, New York Times Book Review “I'm making space on my overstuffed shelves for Lincoln’s Tragic Pragmatism. This is a book I expect to be picking up and thumbing through for years to come.” —Jim Cullen, History News Network “Burt treats the [Lincoln-Douglas] debates as being far more significant than an election contest between two candidates. The debates represent profound statements of political philosophy and speak to the continuing challenges the U.S. faces in resolving divisive moral conflicts.” —E. C. Sands, Choice

Building on recent transformative theories of influence, John Foster explores the many ways Nietzsche's intellectual and artistic example helped shape an interconnected series of major literary projects from 1900 to the 1940s. He portrays Nietzsche as a stimulating but disturbing force who left a well-defined legacy of concerns that modernists appropriated for their fiction. The author focuses particularly on Gide, D. H. Lawrence, Malraux, and Mann, analyzing their strategies of acceptance, revision, and subversion. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"For the sake of contraption (like Frost) and of character (like Robinson), John Burt will do a great deal, and his scope and scansion require a great deal, for his theme is nothing less than the reinvention of heroism (King Mark, Mary of Nazareth, St. Francis, Paolo and Francesca, Ariadne) and the invention of a new heroics (Woodrow Wilson, Willard Gibbs). As attentive to ekphrasis as to the sonnet's narrow room, Burt feels what he knows, and he knows that we can learn from the past only by repeating it. A grand achievement "--Richard Howard.

Almost all these poems are narrative, telling stories that turn on some small but crucial shift of sensibility. One hears in them a speaking rather than a singing voice, a voice which, for all its formality and gravity, remains oral and sociable, a voice which tells things rather than spins charms. Their predominant mood is lucid asperity, sometimes breaking out into the angry Calvinism they always barely keep down, sometimes striving to achieve a humane skepticism that always just eludes them.

The book consists of two sections, one concerned with the cruxes and contradictions of private feeling, the other with the unraveling of the public world. Each section centers on a long narrative poem that culminates the building tensions of the poems that precede it and makes possible the resolutions that follow them.

Sonnet I from "St. Francis and the Wolf" Saved at last, not at the last of me, I knelt two-legged, made of guttural air A little yelp to sound like human prayer. The saints were cautious, understandably.

I took the cup, and managed not to drool, But dreamed the wine was blood, as I'd been taught, And vainly curbed the vain bent of my thought. I knew myself an angel, felt a fool.

Could God have erred in making teeth and maw? Then for his glory I will bite the lamb Whose terror he transmogrifies to awe That I may do his service as I am,

Till as I am I leap the mortal gulf To rage in heaven, a perfected wolf.

Originally published in 1988.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In 1858, challenger Abraham Lincoln debated incumbent Stephen Douglas seven times in the race for a U.S. Senate seat from Illinois. More was at stake than slavery in those debates. In Lincoln's Tragic Pragmatism, John Burt contends that the very legitimacy of democratic governance was on the line. In a United States stubbornly divided over ethical issues, the overarching question posed by the Lincoln-Douglas debates has not lost its urgency: Can a liberal political system be used to mediate moral disputes? And if it cannot, is violence inevitable? As they campaigned against each other, both Lincoln and Douglas struggled with how to behave when an ethical conflict as profound as the one over slavery strained the commitment upon which democracy depends-namely, to rule by both consent and principle. This commitment is not easily met, because what conscience demands and what it is able to persuade others to consent to are not always the same. While Lincoln ultimately avoided a politics of morality detached from consent, and Douglas avoided a politics of expediency devoid of morality, neither found a way for liberalism to mediate the conflict of slavery. That some disputes seemed to lie beyond the horizon of deal-making and persuasion and could be settled only by violence revealed democracy's limitations. Burt argues that the unresolvable ironies at the center of liberal politics led Lincoln to discover liberalism's tragic dimension-and ultimately led to war. Burt's conclusions demand reevaluations of Lincoln and Douglas, the Civil War, and democracy itself.

Building on recent transformative theories of influence, John Foster explores the many ways Nietzsche's intellectual and artistic example helped shape an interconnected series of major literary projects from 1900 to the 1940s. He portrays Nietzsche as a stimulating but disturbing force who left a well-defined legacy of concerns that modernists appropriated for their fiction. The author focuses particularly on Gide, D. H. Lawrence, Malraux, and Mann, analyzing their strategies of acceptance, revision, and subversion. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"For the sake of contraption (like Frost) and of character (like Robinson), John Burt will do a great deal, and his scope and scansion require a great deal, for his theme is nothing less than the reinvention of heroism (King Mark, Mary of Nazareth, St. Francis, Paolo and Francesca, Ariadne) and the invention of a new heroics (Woodrow Wilson, Willard Gibbs). As attentive to ekphrasis as to the sonnet's narrow room, Burt feels what he knows, and he knows that we can learn from the past only by repeating it. A grand achievement!"--Richard Howard. Almost all these poems are narrative, telling stories that turn on some small but crucial shift of sensibility. One hears in them a speaking rather than a singing voice, a voice which, for all its formality and gravity, remains oral and sociable, a voice which tells things rather than spins charms. Their predominant mood is lucid asperity, sometimes breaking out into the angry Calvinism they always barely keep down, sometimes striving to achieve a humane skepticism that always just eludes them. The book consists of two sections, one concerned with the cruxes and contradictions of private feeling, the other with the unraveling of the public world. Each section centers on a long narrative poem that culminates the building tensions of the poems that precede it and makes possible the resolutions that follow them. Sonnet I from "St. Francis and the Wolf" Saved at last, not at the last of me, I knelt two-legged, made of guttural air A little yelp to sound like human prayer. The saints were cautious, understandably. I took the cup, and managed not to drool, But dreamed the wine was blood, as I'd been taught, And vainly curbed the vain bent of my thought. I knew myself an angel, felt a fool. Could God have erred in making teeth and maw? Then for his glory I will bite the lamb Whose terror he transmogrifies to awe That I may do his service as I am, Till as I am I leap the mortal gulf To rage in heaven, a perfected wolf. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Thresholds of Western Culture explores identity, postcoloniality and transnationalism--three closely related issues which redefine contemporary cultural identity.The book opens with an analysis of subjectivity and the cultural meltdown that accompanied fascism in the West. The situation in Africa is then explored which, while recalling modernity's dark side, highlights the intricacy of postcolonial identity. Post-Soviet Eastern Europe presents a separate case of neglected postcoloniality which emphasizes how ethnocentrism and cultural tensions have exposed the fragility of transnationalism. The book concludes with an examination of East Asia, a region which offers transnational options potentially much more fruitful than Balkanization.

Biological diversity is as crucial in agriculture as it is in nature, and it is equally important to the economic health of both industrial and nonindustrial societies. This book offers a sweeping assessment of crop diversity and the potential for its preservation. Stephen B. Brush develops a framework for investigating biological diversity in agriculture that focuses on the knowledge and practice of farmers, and he shows how this human ecology perspective can be applied to three global issues that affect crop resources. Brush defines the dimensions of crop diversity and outlines the essential questions surrounding it. He describes the techniques used to maintain diversity in major crops of three cradles of agriculture in which he has worked: potatoes in the Peruvian Andes, maize in Mexico, and wheat in Turkey. Finally, he explores the policy issues surrounding genetic erosion of crop varieties, conservation of crop diversity, and ownership of genetic resources.

Choice Outstanding Academic Title 2014 Transnational Tolstoy renews and enhances our understanding of Tolstoy's fiction in the context of "World Literature," a term that he himself used in What is Art? (1897). It offers a fresh perspective on Tolstoy's fiction as it connects with writers and works from outside his Russian context, including Stendhal, Flaubert, Goethe, Proust, Lampedusa and Mahfouz. Foster provides an interlocking series of cross-cultural readings ranging from nineteenth-century Germany, France, and Italy through the rise of modernist fiction and the crisis of World War II, to the growth of a worldwide literary outlook from 1960 onward. He emphasizes Tolstoy's writings with the most consistent international resonance: War and Peace and Anna Karenina, two of the world's most compelling novels. Transnational Tolstoy also discusses a shorter work, Hadji Murad. It shares the earlier novels' historical sweep, social breadth, and subtle interplay among a large cast of characters. Along with bringing Tolstoy's gifts to bear on a Muslim protagonist, it also represents his most sustained attempt at world literature.