Books published by Bucknell University Press

The most significant European poet of the second half of the twentieth century, Paul Celan, viewed poetry as "the language of an individual that has become form," an individual that is constructed through the act of observation in the poem. Hillard argues that individuality is the crux of poetry for Celan because the Holocaust effectively eviscerated the individual. He investigates the core figures of individuality in Celan's poetry and prose: semblance, madness, and the wound. Celan's enigmatic poetry of a depopulated textual universe has perplexed critics. This book argues that the poetry's figures have a common source-the discourse of observation from the fields of appearance, perception, and the mind.

Born in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar comon (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolvement, which she elaborated in Habitable (Primera poZtica). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emoci-n (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poZtica). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasi-n inZdita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supercedes essence and, in so doing, breaks with insights expressed by Juan Ram-n JimZnez during his Modernist phase. In Pasi-n inZdita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the 'holy wedding' (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow. It is the poem shadow, like Lacan's objeta, that most disturbs the poet. Only by positioning herself close to the creative process, similar to a worker on scaffolding, is she able to assume a 'parallax view' (in 3iyek's sense), if not of the finished poem, of its formation. In contextualizing the poet's work, Pritchett discovers commonalities with Romantic, Modernist, and creacionista writers. Canelo's insights, moreover, display a resemblance to Heidegger's thoughts on time, being, and poetry, Lacan's ideas on experience and language, and 3iyek's vision of the subject's relationship to the object. Out of the latter's 'parallax view' a perception comes to light that requires poets to deny aesthetic idealism and scrutinize the subject-object relationship. It is Canelo's detection of poem 'shadows' that drives her to refine her approach to creation and, thus, to evolve as a poet.

This book is a critical study of the work of Gregory Rabassa, translator of such canonical novels as Gabriel Garca Mrquezs Cien aos de soledad, Jose Lezama Limas Paradiso, and Julio Cortzars Rayuela. During the past five decades, Rabassa has translated over fifty Latin American novels and to this day he is one of the most prominent English translators of literature from Spanish and Portuguese. Rabassas role was pivotal in the internationalization of several Latin American writers; it led to the formation of a canon and, significantly, to the most prevalent image of Latin American literature in the world. Even though Rabassas legacy has been widely recognized, the extent of his works influence and the complexity of the sociocultural circumstances surrounding his practice have remained largely unexamined. In Gregory Rabassas Latin American Literature: A Translators Visible Legacy, Mara Constanza Guzmn examines the translators conceptions about language, contextualizes his work in terms of the structures and conditions that have surrounded his practice, and investigates the role his translations have played in constructing collective narratives of Latin American literature in the global imaginary. By revisiting and historicizing the translators practice, this book reveals the scale of Rabassas legacy. The translator emerges as an active subject in the inter-American literary exchange, an agent bound to history and to the forces involved in the production of culture.

The recovery and reinvention of the past were fundamental to the conception of the modern in England during the long eighteenth century. Scholars then forged connections between linear time and empirical evidence that transformed historical consciousness. Chronologers, textual critics, and antiquaries constructed the notion of a material past, which spread through the cultures of print and consumption to a broader public, offering powerfuland for that reason, contestedways of perceiving temporality and change, the historicity of objects, and the relation between fact and imagination. But even as these innovative ideas won acceptance, they also generated rival forms of historical meaning. The regular progression of chronological time accentuated the deviance of anachronism and ephemerality, while the opposition of unique artifacts to ubiquitous commodities exoticized things that straddled this divide.Inspired by the authentic products as well as the anomalous by-products of contemporary scholarship, writers, craftsmen, and shoppers appropriated the past to create nostalgic and ironic alternatives to their own moment. Barrett Kalter explores the history of these ';modern antiques,' including Dryden's translation of Virgil, modernizations of The Canterbury Tales, Gray's Gothic wallpaper, and Walpole's Strawberry Hill. Though grounded in the ancient and medieval eras, these works uncannily addressed the controversies about monarchy, nationhood, commerce, and specialized knowledge that defined the present for the English eighteenth century. Bringing together literary criticism, historiography, material culture studies, and book history, Kalter argues that the proliferation of modern antiques in the period reveals modernity's paradoxical emergence out of encounters with the past.

Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes ';progress' through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? ';Left behind' by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious ';conversion,' Scotland's fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland's creative complex yields a literature that models the future for Science Fiction.

Afro-Cuban Identity in Post-Revolutionary Novel and Film examines the changing discourse on race as portrayed in Cuban novels and films produced after 1959. Andrea Easley Morris analyzes the artists' participation in and questioning of the revolutionary government's revision of national identity to include the unique experience and contributions of Cuban men and women of African descent. While the Cuban revolution brought sweeping changes that vastly improved the material condition of many Afro-Cubans, at the time overrepresented among Cuba's poor and marginalized, the government's official position was that racial inequities had been resolved as early as 1962. Although a more open dialogue on race was cut short, the work of several novelists and film directors from the late 1960s and 70s expresses the need to explore what was gained and lost by Afro-Cubans in the early years of the revolution, among them Manuel Granados, Miguel Barnet, Nivaria Tejera, Sara Gomez, Cesar Leante, Toms Gutierrez Alea, Sergio Giral, and Manuel Cofio. Their works participate in the process of redefining Cuban national identity that took place after the revolution and, more specifically, they explore the place of Afro-Cuban identity within a broader notion of revolutionary ';Cubanness.' This occurs through an emphasis on Afro-Cuban cultural practices that have constituted forms of resistance to colonial and neo-colonial oppression. This book examines the identity conflicts portrayed in these works and takes into account the artists' negotiation of their own status within the revolutionary context by looking at the narrative strategies used to address racial issues within the constraints placed on cultural production in Cuba after 1962.

Does fiction do more than just represent space? Can our experiences with fictional storytelling be in themselves spatial? In Constructing Spain: The Re-imagination of Space and Place in Fiction and Film, Nathan Richardson explores relations between cultural representation and spatial transformation across fifty years of Spanish culture. Beginning in 1953, the year Spanish space was officially reopened to Western thought and capital, and culminating in 2003, the year of Aznar's unpopular involvement of his country in the second Iraq War, Richardson traces in popular and critically acclaimed fiction and film an evolution in Spanish storytelling that, while initially representative in nature, increasingly engages its audience in spatial practices that go beyond mere perception or conception of local material geographies.In original readings of films by Luis Berlanga, Luis Buuel, Alex de la Iglesia, Alejandro Amenbar, and Julio Medem, and novels by Juan Goytisolo, Antonio Muoz Molina, and Javier Maras, Richardson shows this formal evolution as a necessary response to developments, restorations, and transformations of local landscapes that resulted during these years from various human migrations, tourist-invasions, urban development plans, resurgent nationalisms, and finally globalization. As these changes occur, Richardson traces a shift in the works studied from mere representation of spatial change toward actual engagement with shifting physical and social geographies, as they inch ever closer toward the production of an actual spatial experience for their audiences. In the final chapters of this book, Richardson offers in-depth and highly original readings of the storytelling projects of Medem and Maras in particular, showing how these two artists invite readers to not only reconceive hegemonic notions of space and place, but to practice alternative notions of being-in-place. In these final readings, Constructing Spain, points to the newest developments in contemporary Spanish narrative and film, a rise of new grammars of creation to challenge the ongoing capital-driven creative destruction of globalized Spanish geography.

Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (';normal') gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot's The Mill on the Floss, Virginia Woolf's Mrs. Dalloway, Andrew Holleran's Dancer from the Dance, and George Sodini's 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ';fail' to perform gender according to social norms.

The essays in this volume portrays the public debates concerning freedom of speech in the 18th century in France and Britain as well as Austria, Denmark, Russia, and Spain and its American territories. The economic integration of Europe and its offshoots over the past three centuries into a distinctive cultural product, 'the West,' has given rise to a triumphant universalist narrative that masks these disparate national contributions to freedom of speech and other liberal rights.

This first volume in the new Stories of the Susquehanna Valley series describes the Native American presence in the Susquehanna River Valley, a key crossroads of the old Eastern Woodlands between the Great Lakes and the Chesapeake Bay in northern Appalachia. Combining archaeology, history, cultural anthropology, and the study of contemporary Native American issues, contributors describe what is known about the Native Americans from their earliest known presence in the valley to the contact era with Europeans. They also explore the subsequent consequences of that contact for Native peoples, including the removal, forced or voluntary, of many from the valley, in what became a chilling prototype for attempted genocide across the continent. Euro-American history asserted that there were no native people left in Pennsylvania (the center of the Susquehanna watershed) after the American Revolution. But with revived Native American cultural consciousness in the late twentieth century, Pennsylvanians of native ancestry began to take pride in and reclaim their heritage. This book also tells their stories, including efforts to revive Native cultures in the watershed, and Native perspectives on its ecological restoration.While focused on the Susquehanna River Valley, this collection also discusses topics of national significance for Native Americans and those interested in their cultures.

Forth and Back broadens the scope of Hispanic trans-Atlantic studies by shifting its focus to Spain's trans-literary exchange with the United States at the end of the twentieth century. Santana analyzes the translation ';boom' of U.S. literature that marked literary production in Spain after Franco's death, and the central position that U.S. writing came to occupy within the Spanish literary system. Santana examines the economic and literary motives that underlay the phenomenon, as well as the particular socio-cultural appeal that U.S. ';dirty realist' writerswhich in Spain included authors as diverse as Charles Bukowski, Raymond Carver, and Bret Easton Ellisheld for Spaniards in the 1980s. Santana also studies the subsequent appropriation of this writing by a polemic group of young Spanish writers in the 1990s whoself-consciously and insistently associated themselves with the U.S. Forth and Back illustrates that literary movements do not unilaterally spread; rather, those that flourish take root in fertile soil and are transformed in their travel by the desires, creative choices, and practical constraints of their differing producers and consumers. It is precisely in the crossing of these currents that plots thicken. The translation of dirty realism, its reception in Spain, and its cultural legacy as appropriated by the young Spanish writers, serve to interrogate a perceived U.S. hegemony. If Spanish realismo sucio has been said to be symptomatic of the globalization of literature, Forth and Back argues that the Spanish works in question posed a subtle reaffirmation of Spanish literature's strong ties to realist fiction, a gesture of continuity in a decade that seemed to presence the undoing of much of Spain's ';Spanish-ness.' Ultimately, this project asks an ambitious pair of questions at the heart of human culture: how do we ';read' each other, quite literally, across geography and language? How do we construct others and ourselves vis--vis those readings?

Secular Millenialism: The Train of Aesthetics from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett combines the perspectives of intellectual history, literary history, and political history in order to illuminate the operation of the idea of aesthetics, and of the historical actualization of that idea, in the background of twentieth-century totalitarianism.

Regarding Santayana it has been claimed that he lacks a system while contradicting himself in outrageous ways. An attentive analysis of his complete uvre, however, reveals something else entirely. It is not easy to classify a thinker as a Platonic materialist, an ironic nihilist, a spiritual atheist, and a conservative without political commitment, but, if one respects his own language, one discerns an astonishing, little-known Santayana, whose philosophical leitmotif consists in: 1) detecting the numerous ';false steps,' logical and moral, supplied by the imagination when it confuses things with the names that designate them, or the world with the feelings that it provokes in the human animalthese errors assume diverse faces: pantheism, moralism, egotism, subjectivism, transcendentalism, Platonism, Puritanism, and utopianism; 2) avoiding these illusions in such a way as to keep the spiritual door open as a form of life to be lived out in an honest fashion; 3) recognizing the natural origin of these temptations and asking oneself what moves humans to succumb imperceptibly to these mistakes, at times tragic, at others comical, and what precautions one can take to remain cognizant of the deceitful leaps that can hijack one's life; and 4) proposing as an alternative the radical distinction between essence and existence, which leads him to distinguish four realms of being: the realm of essence, the realm of matter, the realm of truth, and the realm of spirit. Essence as logical identity, matter as contingent existence, truth as frozen history, and spirit as the flames that part from contingency and approximate the eternal. An attempt has been made in this book to expand on and clarify these questions.

The Cultural Politics of Twentieth-Century Spanish Theater argues that twentieth-century artists used the Golden Age Eucharist plays called autos sacramentales to reassess the way politics and the arts interact in the Spanish nation's past and present, and to posit new ideas for future relations between the state and the national culture industry. The book traces the phenomenon of the twentieth-century auto to show how theater practitioners revisited this national genre to manifest different, oftentimes opposing, ideological and aesthetic agendas. It follows the auto from the avant-garde stagings and rewritings of the form in the early twentieth century, to the Francoist productions by the Teatro Nacional de la Falange, to postmodern parodies of the form in the era following Franco's death to demonstrate how twentieth-century Spanish dramatists use the auto in their reassessment of the nation's political and artistic past, and as a way of envisioning its future.

Global Tangos: Travels in the Transnational Imaginary argues against the hackneyed rose-in-mouth cliches of Argentine tango, demonstrating how the dance may be used as a way to understand transformations around the world that have taken place as a result of two defining features of globalization: transnationalism and the rise of social media. Global Tangos demonstrates the cultural impact of Argentine tango in the world by assembling an unusual array of cultural narratives created in almost thirty countries, all of which show how tango has mixed and mingled in the global imaginary, sometimes in wildly unexpected forms. Topics include Tango Barbie and Ken, advertising for phone sex, the presence of tango in political upheavals in the Middle East and in animated Japanese children's television programming, gay tango porn, tango orchestras and composers in World War II concentration camps, global tango protests aimed at reclaiming public space, the transformation of Buenos Aires as a result of tango tourism, and the use of tango for palliative care and to treat other ailments. They also include the global development of queer tango theory, activism, and festivals. Global Tangos shows how the rise in social media has heralded a new era of political activism, artistry, solidarity, and engagement in the world, one in which virtual global tango communities have indeed become very ';real' social and support networks. The text engages some key concepts from contemporary critics in the fields of tourism studies, geography, dance studies, cultural anthropology, literary studies, transnational studies, television studies, feminism, and queer theory. Global Tangos underscores the interconnectedness of cultural identity, economics, politics, and power in the production, marketing, distribution, and circulation of global images related to tangoand, by extension, Latin Americathat travel the world.

Writing Teresa: The Saint from vila at the fin-de-siglo examines the Teresa de Jess ';boom' of roughly 18801930, and offers an in-depth study of five major Spanish participants in the turn-of-the-twentieth-century explosion of literary treatments of St. Teresa. This historical period's interest in the Saint from vila relates to popularization and nationalization of aspects of Catholicism, technological advances, a modernist fascination with saintly heroes, the search for new Spanish identities, and the evolving role of women writers and intellectuals. Teresa was mysticism in its historical context, energy in a time of doubt, the possibility of reconciling science and spirituality, a new vision for writing, and a maternal figure linked to the religion of the past for those who had lost the faith of their childhood.

Comprising six full-length chapters, a comprehensive Introduction and Conclusion, this monograph is extensive in scale and scope. It provides fresh readings of key writings of Maritegui, one of Latin America's most important and revolutionary political, cultural and aesthetic theorists, through the lens of his poetics, emphasizing the value of this approach for a fuller understanding of his work's political meaning and impact. It does so through detailed analysis of the poetic, expressive language employed in seminal political essays, aimed at forging a new Marxist position in 1920s Peru. Furthermore, it offers powerful and original critiques of understudied intellectuals of this time, especially aprista-Futurist, Socialist and Indigenist female writers and artists, such as Magda Portal and ngela Ramos, whose work he championed. These readings are fully contextualized in terms of detailed critical study of complex sociopolitical conditions and positions, and bio-bibliographical, intellectual backgrounds of Maritegui and his contemporaries. The monograph examines and underscores the fundamental importance of Maritegui's, and their, politico-poetic practices and projects for forging a national-cum-cosmopolitan, shared, yet also heterogeneous, political culture and cultural tradition in 1920s Peru.

What is Film Noir? surveys the various theories of film noir, defines film noir, and explains how the genre relates to the style and the period in which noir was created. It also provides a very useful theory of genre and how it relates to film study.

The book stands as a new bench-mark in Smart studies for the twenty-first century. The essays explore the energy of Christopher Smart's wide-ranging participation in eighteenth-century print culture: not only his often unbuttoned and vigorous writings themselves, but also the multiple cultural fields in which he operated, which included poetry, journalism, hymns and songs, translation, the theatre and books for children; thus the book offers rich insights into eighteenth-century literary, political and cultural history.

Magical Realism and the History of the Emotions in Latin America rethinks the rise and fall of magical realism in Latin America in light of the cultural history of the emotions and in conversation with contemporary theories of affect.

Developments in the Histories of Sexualities: In Search of the Normal,1600-1800 explores the oppositions created by the official exclusion of banned sexual practices and the resistance to that exclusion through widespread acceptance of those outlawed practices at an interpersonal level.

Coal Dust on Your Feet is a historical ethnography of Shamokin, Pennsylvania and its surrounding borough of Coal Township. This anthracite coal fueled the industrial revolution and its miners generated the rise of organized labor, both of which make the region of northeast Pennsylvania one of great economic and historic importance. The ethnographic field site of the study spans a century and a half as it looks at the history and ties to the home countries of the immigrants who established and worked the coal mines. Details of individual lives and family histories enliven accounts of industry and the struggles of the unions, means of livelihood, ethnicity, associational life and ceremonial occasions. It will be of interest to anthropologists, sociologists, scholars of urban studies and labor historians, and contributes to the canon of literature on community and sense of place. The study focuses on the rise and decline of the mining industry, on the ethnic groups that formed the town's neighborhoods, and on the changes that have taken place in ethnicity, religion, class and community. It covers the period of prosperity when the factories of the New York garment industry moved into town for the middle years of the twentieth century and made Shamokin a shopping mecca. Today, the town is decimated by economic decline and population loss, but ethnicity remains an identity option and still has economic content. The strong sense of place of the people of the town rooted in their cultural and militant heritage, has given rise to a wider community of former residents who return to visit, participate in events and buy ethnic foods and cultural items. This wider community of belonging and identity helps to boost morale, sense of community and economy, in what is now primarily a retirement town with commuters traveling to work in nearby cities.

Oliver Goldsmith (17281774) moved between the genres and geographies of enlightenment writing with considerable dexterity. As a consequence he has been characterized as a passive purveyor of enlightenment thought, a hack, a harried translator of the French enlightenment for an English audience, an ideological lackey, and a subtle ironist. In poetry, he is either a compliant pastoralist or an engaged social critic. Yet Goldsmith's career is as complex and as contradictory as the enlightenment currents across which he wrote, and there is in Goldsmith's oeuvre a set of themesincluding his opposition to the new imperialism and to glibly declared principles of libertywhich this book addresses as a manifestation of his Irishness. Michael Griffin places Goldsmith in two contexts: one is the intellectual and political culture in which he worked as a professional author living in London; the other is that of his nationality and his as yet unstudied Jacobite politics. Enlightenment in Ruins thereby reveals a body of work that is compellingly marked by tensions and transits between Irishness and Englishness, between poetic and professional imperatives, and between cultural and scientific spheres.

A History of Ecology and Environmentalism in Spanish American Literature undertakes a comprehensive ecocritical examination of the region's literature from the foundational texts of the nineteenth century to the most recent fiction. The book begins with a consideration of the way in which Argentine Domingo Faustino Sarmiento's views of nature through the lens of the categories of ';civilization' and ';barbarity' from Facundo (1845) are systematically challenged and revised in the rest of the century. Subsequently, this book develops the argument that a vital part of the cultural critique and aesthetic innovations of Spanish American modernismo involve an ecological challenge to deepening discourses of untamed development from Europe and the United States. In other chapters, many of the well-established titles of regional and indigenista literature are contrasted to counter-traditions within those genres that express aspects of environmental justice, ';deep ecology,' the relational role of emotion in nature protectionism and conservationism, even the rights of non-human nature. Finally, the concluding chapters find that the articulation of ecological advocacy in recent fiction is both more explicit than what came before but also impacts the formal elements of literature in unique ways. Textual conventions such as language, imagery, focalization, narrative sequence, metafiction, satire, and parody represent innovations of form that proceed directly from the ethical advocacy of environmentalism. The book concludes with comments about what must follow as a result of the analysis including the revision of canon, the development of literary criticism from novel approaches such as critical animal studies, and the advent of a critical dialogue within the bounds of Spanish American environmentalist literature.A History of Ecology and Environmentalism in Spanish American Literature attempts to develop a sense of the way in which ecological ideas have developed over time in the literature, particularly the way in which many Spanish American texts anticipate several of the ecological discourses that have recently become so central to global culture, current environmentalist thought, and the future of humankind.

Wordsworth, Hemans, and Politics, 18001830: Romantic Crises is a study of the political lives of William Wordsworth and Felicia Hemans between 1800 and 1830. Tracing trajectories from the first decade of the nineteenth century to the meeting of the two authors in 1830, Wordsworth, Hemans, and Politics argues that the dominant paradigm for their political thought was that of ';crisis.' Obsessed with the mysterious connections between the individual, the home, and the state, Wordsworth and Hemans portrayed all three in a common crisis that would be resolved in the future. Both writers articulated historical moments when the tenuousness of the present society gave glimpses into a future one. Building on and reacting to the strong critical statements of the 80s and 90s that tended to see the political views of Wordsworth and Hemans as formed by personal crises, Wordsworth, Hemans, and Politics argues that far from being tied to personal circumstances, crises were staged by Wordsworth and Hemans to argue for clear political positions on a wide variety of topics. Because crises come with claims of singularity, the use of crises to explain historical change finds its origin in revolutionary ideology. But because imagined crises proliferated throughout the Romantic period, crises no longer signaled earth-shattering change, but business as usual. The ideology of crises carried the tension between revolution and modernity that haunted the Romantic period. Wordsworth, Hemans, and Politics presents revisionary readings of major works and contributes to long-standing discussions on a number of different topics: dissenting politics, poor relief, gender roles in peace and wartime, and the nature of historical memory, to name a few. By focusing on the dramatic nature of crisis narratives, Wordsworth, Hemans, and Politics responds to master narratives of the Romantic period that limit and simplify political expression. The book restores complexity to the political lives of two poets who fashioned revolutionary ideology for their own ends.

Shakespeare and the Spanish Comedia examines masterpieces of early modern English and Spanish theater with attention to issues of transculturation, translation, interpretation and performance. This collection of essays by highly respected British and American scholars and theater practitioners offers a unique transnational view of two great dramatic traditions in the social contexts in which they were originally created and in which they are presently viewed.