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Poetry. The essays collected in this volume are cross-genre hybrids of creative and critical enchantment with the multifaceted works of Susan Howe from 1969 to 2019. Through print and electronic, video and vinyl, manuscript and typescript, gallery installation and special collection media and methods, W. Scott Howard illuminates Howe's "invisible colliding phenomena" of folding floreate flare. Howard's prose modulates from lyrical invocations to theoretical discourses, becoming increasingly embedded in generative, unpredictable intersections among Howe's archives, artifacts, and factual telepathy. The book also includes an extensive interview with Susan Howe concerning chance and discipline in her poetics and praxis from My Emily Dickinson to Debths. Howard's writing moves within and against fields of study (mainly history, literature, and philosophy plus a few others here and there); across and through time periods (from the early modern to now), following a nonconformist's helical quest 'after' the poet's signal escapes.

A cofounder of the Provincetown Players and winner of a Pulitzer Prize for Drama, Susan Glaspell (1876-1948) was one of the first female playwrights. Although long neglected, the four plays collected in this critical edition reveal the thoroughly modern nature of her concerns. Trifles (1916) develops a feminist critique of social role, while The Outside (1917) stages a debate between the life force and a perverse celebration of death. In The Verge (1921), Glaspell presented an experimental work of considerable proportions, more daring in many ways than anything attempted by O'Neill. And though Inheritors (1921) is far more conventional, it nonetheless questions the nature and reality of American pieties. Long known for a single play, Glaspell now emerges as a significant figure in the history of American drama, a woman of genuine creative innovation.

The pre-Raphaelite artists, especially John Everett Millais, Holman Hunt, and Dante Gabriel Rossetti, are presented from the perspective of the popular and critical response of American audiences to their work. Complemented by more than one hundred photographs, the study also delineates the influence of the Pre-Raphaelites on American artists.

Poetry. The essays collected in this volume are cross-genre hybrids of creative and critical enchantment with the multifaceted works of Susan Howe from 1969 to 2019. Through print and electronic, video and vinyl, manuscript and typescript, gallery installation and special collection media and methods, W. Scott Howard illuminates Howe's "invisible colliding phenomena" of folding floreate flare. Howard's prose modulates from lyrical invocations to theoretical discourses, becoming increasingly embedded in generative, unpredictable intersections among Howe's archives, artifacts, and factual telepathy. The book also includes an extensive interview with Susan Howe concerning chance and discipline in her poetics and praxis from My Emily Dickinson to Debths. Howard's writing moves within and against fields of study (mainly history, literature, and philosophy plus a few others here and there); across and through time periods (from the early modern to now), following a nonconformist's helical quest 'after' the poet's signal escapes.

Susan Rothenberg first gained critical attention in the mid-seventies when she introduced the simple, outlined image of an animal onto the austere canvas of Minimalism. Since then, her exploration of the formal tenets of painting has been manifested through increasingly complex compositions, rendered in a recognizably gestural style. This combination has in part allowed for the consistent interpretation of the artist's work as being both emotionally intense and a serious contribution to the tradition of heroic painting.Since moving to the Southwest from New York City a decade ago, Rothenberg has created a body of work that is at once a continuation and evolution of previous concerns, and an expression of dramatic changes. Susan Rothenberg: Paintings from the Nineties, published on the occasion of a major exhibit of the artist's works from the past decade, brings together twenty of her most significant recent paintings. As these works have never been shown before as

Susan Sontag (1933–2004) spoke of the promiscuity of art and literature the willingness of great artists and writers to scandalize their spectators through critical frankness, complexity, and beauty. Sontag's life and thought were no less promiscuous. She wrote deeply and engagingly about a range of subjects theater, sex, politics, novels, torture, and illness and courted celebrity and controversy both publicly and privately. Throughout her career, she not only earned adulation but also provoked scorn. Her living was the embodiment of scandal.In this collection, Terry Castle, Nancy K. Miller, Wayne Koestenbaum, E. Ann Kaplan, and other leading scholars revisit Sontag's groundbreaking life and work. Against Interpretation, "Notes on Camp," Letter from Hanoi, On Photography, Illness as Metaphor, I, Etcetera, and The Volcano Lover these works form the center of essays no less passionate and imaginative than Sontag herself. Debating questions raised by the thinker's own images and identities, including her sexuality, these works question Sontag's status as a female intellectual and her parallel interest in ambitious and prophetic fictional women; her ambivalence toward popular culture; and her personal and professional "scandals." Paired with rare photographs and illustrations, this timely anthology expands our understanding of Sontag's images and power.

Book by Lynda D. Ernst, Susan M. Kolbinger

Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.

The Second Edition of the Norton Critical Edition of The Brothers Karamazov is based on a significantly revised translation by Susan McReynolds. The text is accompanied by a detailed introduction, a pronunciation and explanation key for the novel’s main characters, and greatly revised and expanded explanatory annotations. “Contexts” presents a wealth of background and source materials relating to The Brothers Karamazov, to Dostoevsky’s own experiences, to current events, and to observations on a changing society. Included are the correspondence of influential literary and social critic Vissarion Grigorievich Belinksy and the author’s letters spanning three decades as well as a selection from Dostoevsky’s Diary of a Writer in which readers may trace the origins of this novel. “Criticism” offers a wide range of scholarly commentary on The Brothers Karamazov from American, Russian, and European authors, eleven of them new to the Second Edition and two of them appearing in English for the first time. Contributors include Ralph Matlaw, Valentina Vetlovskaia, Seamas O’Driscoll, William Mills Todd, Vladimir Kantor, Edward Wasiolek, Nathan Rosen, Roger B. Anderson, Robin Feuer Miller, Horst-Jürgen Gerigk, Vladimir Golstein, Robert L. Belknap, Ulrich Schmid, and Gary Saul Morson. A Chronology of Dostoevsky’s life and work and a Selected Bibliography are also included.

A critical review of the work features the contributions of A. Walton Litz, Susan Morgan, John Wiltshire, and other scholars, discussing the themes and characters of the novel.

A critical overview of the mid-nineteenth-century novel features the writings of Jerome Beaty, Susan Ostrov Weisser, Warren Edminster, and other scholars.

Renowned critical theorist Susan Buck-Morss argues convincingly that a global public needs to think past the twin insanities of terrorism and counter-terrorism in order to dismantle regressive intellectual barriers. Surveying the widespread literature on the relationship of Islam to modernity, she reveals that there is surprising overlap where scholars commonly and simplistically see antithesis. Thinking Past Terror situates this engagement with the study of Islam among critical contemporary discourses—feminism, post-colonialism and the critique of determinism.Reminding us powerfully that domination and consensus are maintained not by the lack of opposing ideas but by the disorganization of dissent, Thinking Past Terror presents the empowering idea of a global counter-culture as a very real possibility. If the language of a global, radically cosmopolitan Left is not presumed but its attainment struggled for, if the Leftist project is itself this struggle, then democracy defines its very core.

Contains essays by Wayne L. Johnson, Donald Watt, William F. Touponce, Susan Spencer, and others discussing the novel as it relates to cultural history.

A critical guide to the work features the writings of Susan Willis, Michael Awkward, Donald B. Gibson, and Dorthea Drummond Mbalia

Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.

Book By Kasdan Margo, Tavernetti Susan

In this path-breaking work, Susan Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation.  Hegel, Haiti, and Universal History offers a fundamental reinterpretation of Hegel's master-slave dialectic and points to a way forward to free critical theoretical practice from the prison-house of its own debates.  Historicizing the thought of Georg Wilhelm Friedrich Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination. She finds that it is in the discontinuities of historical flow, the edges of human experience, and the unexpected linkages between cultures that the possibility to transcend limits is discovered. It is these flashes of clarity that open the potential for understanding in spite of cultural differences.  What Buck-Morss proposes amounts to a “new humanism,” one that goes beyond the usual ideological implications of such a phrase to embrace a radical neutrality that insists on the permeability of the space between opposing sides and as it reaches for a common humanity. 

Raising a number of critical questions, Brid Featherstone, Susan White and Kate Morris challenge a child protection culture that they see as becoming increasingly authoritarian. Calling for a family-minded practice of child protection, they argue that children should be understood as relational beings and that greater sensitivity should be paid to parents and the needs they have as a result of the burdens of childcare. They argue that current child protection services need to ameliorate, rather than reinforce, the many deprivations that parents engaged in their systems face. Bringing together authors who combine a wealth of experience in both scholarship and practice, this book provides a sensitive reassessment of a critical point of contact between governments and families. 

A critical review of the work features the contributions of A. Walton Litz, Susan Morgan, John Wiltshire, and other scholars, discussing the themes and characters of the novel.

In this path-breaking work, Susan Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation.  Hegel, Haiti, and Universal History offers a fundamental reinterpretation of Hegel's master-slave dialectic and points to a way forward to free critical theoretical practice from the prison-house of its own debates.  Historicizing the thought of Georg Wilhelm Friedrich Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination. She finds that it is in the discontinuities of historical flow, the edges of human experience, and the unexpected linkages between cultures that the possibility to transcend limits is discovered. It is these flashes of clarity that open the potential for understanding in spite of cultural differences.  What Buck-Morss proposes amounts to a “new humanism,” one that goes beyond the usual ideological implications of such a phrase to embrace a radical neutrality that insists on the permeability of the space between opposing sides and as it reaches for a common humanity.