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Since publication of the first edition more than twenty years ago, The Comedy of Survival has been credited as the founding work in the field of literary ecology, the study of relationships between the literary arts and scientific ecology. Here, Joseph Meeker expands upon his consideration of comedy and tragedy, not as dramatic motifs for humor and sadness but rather as forms of adaptive behavior in the natural world that either promote our survival (comedy) or estrange us from other life forms (tragedy). In this third major edition of his classic work, Meeker examines the role of literature in shaping such behavior. Drawing upon centuries of western writing from Dante to Shakespeare to E. O. Wilson, he demonstrates the universality of comedy in both human and animal behavior and shows how the comic mode helps us to live in harmony with nature. Meeker then defines the tragic view of life, interweaving that behavior with exploitation of the environment. With imagination and flair, the author also introduces the idea of a play ethic, as opposed to a work ethic, and demonstrates the importance of play as a necessary and desirable component of the comic spirit. Within a growing body of environmental literature dealing with spirituality, ethics, ecofeminism, nature writing, and alternative lifestyles, Meeker's is a one-of-a-kind book, combining elements of literary criticism, ethology, New Age thinking, and personal narrative. Full of provocative twists and turns, The Comedy of Survival is a book for literary critics, environmentalists, human ecologists, philosophers, and anthropologists. Many will find much to ponder in this clear explication of how we might become better stewards of the Earth.

From Introduction: "...Joseph Meeker's perspective on the world is that of an itinerant connector, patiently working back and forth between the domains of ethology and ecology, literature and biology, art and nature. He reveals us to ourselves without condemning us, his tolerance and good will signifying his own healthy, human intraspecies animality. He invites us not simply to emulate him in his quest of wholeness and healing, but to join him - disagreeing, if need be - in bridging the long-standing dichotomy between things cultural and things natural, in which literature is not only heir but an active participant."

Since publication of the first edition more than twenty years ago, The Comedy of Survival has been credited as the founding work in the field of literary ecology, the study of relationships between the literary arts and scientific ecology. Here, Joseph Meeker expands upon his consideration of comedy and tragedy, not as dramatic motifs for humor and sadness but rather as forms of adaptive behavior in the natural world that either promote our survival (comedy) or estrange us from other life forms (tragedy). In this third major edition of his classic work, Meeker examines the role of literature in shaping such behavior. Drawing upon centuries of western writing from Dante to Shakespeare to E. O. Wilson, he demonstrates the universality of comedy in both human and animal behavior and shows how the comic mode helps us to live in harmony with nature. Meeker then defines the tragic view of life, interweaving that behavior with exploitation of the environment. With imagination and flair, the author also introduces the idea of a play ethic, as opposed to a work ethic, and demonstrates the importance of play as a necessary and desirable component of the comic spirit. Within a growing body of environmental literature dealing with spirituality, ethics, ecofeminism, nature writing, and alternative lifestyles, Meeker's is a one-of-a-kind book, combining elements of literary criticism, ethology, New Age thinking, and personal narrative. Full of provocative twists and turns, The Comedy of Survival is a book for literary critics, environmentalists, human ecologists, philosophers, and anthropologists. Many will find much to ponder in this clear explication of how we might become better stewards of the Earth.

One of Spain's most celebrated directors, Pedro Almodovar has won international recognition for his dark comedy-dramas like Women on the Verge of a Nervous Breakdown, All About My Mother and Volver. Reconceptualising Almodovar's films as theoretical and political resources, this innovative book examines a neglected aspect of his cinema: its engagement with the traumatic past, with subjective and collective memory, and with the ethical and political meanings that result from this engagement. With close readings of Almodovar's films from the 1990s and 2000s, including Bad Education and The Skin I Live In, Julian Daniel Gutierrez-Albilla explores how Almodovar's cinema mourns and witnesses the traces of trauma, drawing on theoretical approaches from trauma studies, psychoanalysis, philosophy, film studies and visual studies to suggest that his work proposes an ethical model based on our compassionate relations to others, and envisions a world co-inhabited by plurality and difference.

One of Spain's most celebrated directors, Pedro Almodovar has won international recognition for his dark comedy-dramas like Women on the Verge of a Nervous Breakdown, All About My Mother and Volver. Reconceptualising Almodovar's films as theoretical and political resources, this innovative book examines a neglected aspect of his cinema: its engagement with the traumatic past, with subjective and collective memory, and with the ethical and political meanings that result from this engagement. With close readings of Almodovar's films from the 1990s and 2000s, including Bad Education and The Skin I Live In, Julian Daniel Gutierrez-Albilla explores how Almodovar's cinema mourns and witnesses the traces of trauma, drawing on theoretical approaches from trauma studies, psychoanalysis, philosophy, film studies and visual studies to suggest that his work proposes an ethical model based on our compassionate relations to others, and envisions a world co-inhabited by plurality and difference.

In a masterly synthesis of historical and literary analysis, Giuseppe Mazzotta shows how medieval knowledge systems--the cycle of the liberal arts, ethics, politics, and theology--interacted with poetry and elevated the Divine Comedy to a central position in shaping all other forms of discursive knowledge. To trace the circle of Dante's intellectual concerns, Mazzotta examines the structure and aims of medieval encyclopedias, especially in the twelfth and thirteenth centuries; the medieval classification of knowledge; the battle of the arts; the role of the imagination; the tension between knowledge and vision; and Dante's theological speculations in his constitution of what Mazzotta calls aesthetic, ludic theology. As a poet, Dante puts himself at the center of intellectual debates of his time and radically redefines their configuration. In this book, Mazzotta offers powerful new readings of a poet who stands amid his culture's crisis and fragmentation, one who responds to and counters them in his work. In a critical gesture that enacts Dante's own insight, Mazzotta's practice is also a fresh contribution to the theoretical literary debates of the present.Originally published in 1992.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.

In a masterly synthesis of historical and literary analysis, Giuseppe Mazzotta shows how medieval knowledge systems--the cycle of the liberal arts, ethics, politics, and theology--interacted with poetry and elevated the Divine Comedy to a central position in shaping all other forms of discursive knowledge. To trace the circle of Dante's intellectual concerns, Mazzotta examines the structure and aims of medieval encyclopedias, especially in the twelfth and thirteenth centuries; the medieval classification of knowledge; the battle of the arts; the role of the imagination; the tension between knowledge and vision; and Dante's theological speculations in his constitution of what Mazzotta calls aesthetic, ludic theology. As a poet, Dante puts himself at the center of intellectual debates of his time and radically redefines their configuration. In this book, Mazzotta offers powerful new readings of a poet who stands amid his culture's crisis and fragmentation, one who responds to and counters them in his work. In a critical gesture that enacts Dante's own insight, Mazzotta's practice is also a fresh contribution to the theoretical literary debates of the present.Originally published in 1992.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.

In a masterly synthesis of historical and literary analysis, Giuseppe Mazzotta shows how medieval knowledge systems--the cycle of the liberal arts, ethics, politics, and theology--interacted with poetry and elevated the Divine Comedy to a central position in shaping all other forms of discursive knowledge. To trace the circle of Dante's intellectual concerns, Mazzotta examines the structure and aims of medieval encyclopedias, especially in the twelfth and thirteenth centuries; the medieval classification of knowledge; the battle of the arts; the role of the imagination; the tension between knowledge and vision; and Dante's theological speculations in his constitution of what Mazzotta calls aesthetic, ludic theology. As a poet, Dante puts himself at the center of intellectual debates of his time and radically redefines their configuration. In this book, Mazzotta offers powerful new readings of a poet who stands amid his culture's crisis and fragmentation, one who responds to and counters them in his work. In a critical gesture that enacts Dante's own insight, Mazzotta's practice is also a fresh contribution to the theoretical literary debates of the present.Originally published in 1992.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.