Books published by Fairleigh Dickinson University Press

Race and Hegemonic Struggle in the United States: Pop Culture, Politics, and Protest is a collection of essays that draws on concepts developed by Antonio Gramsci to examine the imagining of race in popular culture productions, political discourses, and resistance rhetoric.

Philosophy of Communication Ethics is a unique and timely volume that creatively examines communication ethics, philosophy of communication, and "the other."

The essays in this volume explore how Franklin's political and philosophical thinking was informed, while examining the deep appeal that Franklin has had on generation after generation of Americans.

The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight tells the remarkable story of Moses Ezekiel and his rise to international fame as an artist in late nineteenth-century Italy. Sephardic Jew, homosexual, Confederate soldier, Southern apologist, opponent of slavery, patriot, expatriate, mystic, Victorian, dandy, good Samaritan, humanist, royalist, romantic, reactionary, republican, monist, dualist, theosophist, freemason, champion of religious freedom, proto-Zionist, and proverbial Court Jew, Moses Ezekiel was a riddle of a man, a puzzle of seemingly irreconcilable parts. Knighted by three European monarchs, courted by the rich and famous, Moses Ezekiel lived the life of an aristocrat with rarely a penny to his name. Making his home in the capacious ruins of the Baths of Diocletian in Rome, he quickly distinguished himself as the consummate artist and host, winning international fame for his work and consorting with many of the lions and luminaries of the fin-de-siecle world, including Giuseppe Garibaldi, Queen Margherita, Franz Liszt, Richard Wagner, Sarah Bernhardt, Gabriele D'Annunzio, Eleonora Duse, Annie Besant, Clara Schumann, Sir Lawrence Alma-Tadema, Alphonse Daudet, Mark Twain, mile Zola, Robert E. Lee, Augustus Saint-Gaudens, and Isaac Mayer Wise. In a city besieged with eccentrics, he, a Southern Jewish homosexual sculptor, was outstanding, an enigma to those who knew him, a man at once stubbornly original and deeply emblematic of his times. According to Stanley Chyet in his introduction to Ezekiel's memoirs, ';The contemporary European struggle between liberalism and reaction, between modernity and feudalism, between the democratic and the hierarchical is rather amply refracted in Ezekiel's account of his life in Rome.' Indeed so many of the contentious cultural, political, artistic, and scientific struggles of the age converged in the figure of this adroit and prepossessing Jew.

This book examines the significance of cabins and other temporary seasonal dwellings as important symbols in modern Norwegian cultural and literary history. The author uses Michel Foucault's notion of the ';heterotopia'an actual place that also functions imaginatively as a kind of real-world utopiato examine how cabins have signified differently during successive periods, from an Enlightenment trope of simplicity and moderation, through the rise of tourism, into a period of increasing individualism and alienation from nature. For each period discussed, the author relates a widely recognized real world cabin to a cluster of thematically related literary texts from a wide variety of genres. Cabins in Modern Norwegian Literature considers both central canonical works, such as Camilla Collett's The District Governor's Daughters, Bjrnstjerne Bjrnson's Synnve Solbakken, Henrik Ibsen's When We Dead Awaken, and Knut Hamsun's The Growth of the Soil, as well as less widely known literary works and texts from marginal genres such as hunting narratives and crime fiction. In addition, the book contains analyses of a few key films from the contemporary period that also activate the cabin as a motif. The central argument is that while Norwegians today tend to think of cabin culture as essentially unchanging over a long span of time, it has in fact changed dramatically over the past two hundred years, and that it is an extremely rich and complex cultural phenomenon deeply imbedded in the construction of national identity.

Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Mawenn is the first book to link these five filmmakers together through an analysis of the relationship between filming one's own body and the creative body. Through engaged artistic practices, these female filmmakers turn the camera to their bodies as a way to show the process of artistic creation and to produce themselves as filmmakers and artists in their work from 19872009. By making visible their bodies, they offer a wider range of representation of women in French film. Through avant-garde form, in which tangible corporeal elements are made image, they transform representational content and produce new cinematic bodies with the power to influence signifying practices in contemporary French culture. By rendering visible their artistic practice and praxis and their camera in their workreflexive practices that also unite these filmmakersthese women also visually claim the role of filmmaker and creative subject. Thus they establish their authority in a film industry in which women's participation and recognition of their achievements have historically been lower than that of their male counterparts.

When Elizabeth von Arnim anonymously published her debut Elizabeth and Her German Garden (1898), she became a literary star overnight. The mystery surrounding the identity of this witty aristocratic diarist in her romantic garden kept readers guessing: Who was Elizabeth? A Prussian Princess? The daughter of Queen Victoria? Throughout her long and successful career as one of England's best satirical novelists, von Arnim never officially revealed her identity. Instead, to her readers and friends she simply became known as ';Elizabeth.' From her first book to her capricious autobiography All the Dogs of My Life (1936), throughout her career von Arnim would explore questions of identity and self-representation. And in spite of von Arnim's love of masquerades and guises, her books include funny and surprisingly personal meditations on the challenges of being a woman writer wrestling with a masculine literary tradition, of taking pride in one's commercial success while moving in Modernist circles, and of being both a hard-working professional and an elegant hostess.In tracing the conflict between femininity and authorship in von Arnim's works, this book engages with key literary issues of the time. Von Arnim's early books offer a witty critique of New Woman fiction. Von Arnim's self-positioning on the literary market and her relationships with writers like Katherine Mansfield, Henry James, and Virginia Woolf shed light on the relationship between middlebrow and modernist literature. Von Arnim's complex autobiography, finally, gives a tentative answer to the all-important question: can a writing woman be a lady?

When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mindpictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.

I Eat, Therefore I Think breaks new ground by introducing philosophy via an activity central to life: eating. Building on the original meaning of philosophy as love of wisdom, it explains how the search for wisdom can best succeed by addressing not just the mind, but the entire human being. Eating, an activity that integrates physiological, social, religious, cultural, ethical, and aesthetic dimensions, offers an opportunity to re-think fundamental questions. The result: surprising and novel ways to approach art, religion, knowledge, ethics, and even democracy. The book outlines a new philosophy for our time. As such, it will be of interest to people curious about the topic of food, to those interested in learning about philosophy, and to those who seek new ideas as guides for living meaningful lives in an intelligible world.

Women and Comedy: History, Theory, Practice brings together leading researchers from Canada, the United States, and Europe in an interdisciplinary collection of essays to chart the future of critical inquiry in gender and comedy studies.

The Wayward Woman takes a fresh look at the Progressive Era, recasting the turn-of-the-century debate on gender roles and prostitution. Recapitulating and transcending extant studies of female delinquency, prostitution literature, and Progressive womanhood, this work understands ';female waywardness' as the critical intersection between the rise of female emancipation and the panic inspired by the period's obsession with sexual enslavement. Concurrently, it explores the Progressive ambivalence about compassion and control which unfolded alongside a war on prostitution that traversed the realms of law, medicine, literature and politics. Drawing on theories of performativity the author develops ';the wayward woman' as a capacious analytical category that encompasses all women who, countering the residual injunction of domesticity, brought new forms of femininity into the light of the public sphere: the activist, the professional and the divorcee, but also the female breadwinner, the charity girl and the urban woman of coloramong many others. The book investigates the continuum of waywardness that stretches from the high-minded New Woman to the ever-victimized ';white slave' as a cultural battlefield where numerous women stepped across the boundaries of class, race and respectability to claim new public personas. At the same time it reads the preoccupation with white slavery both as a symptom of and an antidote to this wave of change. Through an innovating collection of sources which brings together sociological writings, novels, plays, movies and legal documents, the book rearticulates the tensions of the Progressive Era between gender roles, blackness and whiteness, reformers and reformed, the citizens and the state. The Wayward Woman will be of much interest to students and scholars in the fields of American studies, women studies and performance studies.

Many studies of Eliot's writings have mentioned his religious beliefs, but most have failed to give the topic due weight, and many have misunderstood or misrepresented his faith. T. S. Eliot and Christian Tradition presents the subject of Eliot's religious beliefs in rich detail, from a number of different perspectives, giving readers the opportunity to see the topic in its complexity and fullness.

Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moliere's Impromptu de Versailles with ';impromptus' by Jean Cocteau, Jean Giraudoux, and Eugene Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside.

This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one.

Outlaw Fathers in Victorian and Modern British Literature: Queering Patriarchy traces the representations of outlaw fathers, or queer patriarchs, and their relationships with their queer sons, in a particular literary tradition: mid-to-late-Victorian and twentieth-century British fiction and memoir. Specifically, I look at such representations in Anthony Trollope's Doctor Thorne (1858) and The Prime Minister (1875-76) (while also drawing on An Autobiography (1883) and The Duke's Children (1880)); Samuel Butler's The Way of All Flesh (published in 1901), Henry James's ';The Lesson of the Master' (1888), J. R. Ackerley's My Father and Myself (written in the 1930s and published in 1968), E. M. Forster's ';Little Imber' (1961) (with an occasional detour into The Longest Journey (1907), Howards End (1909), and Maurice (published in 1971)), and Alan Hollinghurst's The Spell (1998). In the coda, I consider the implications of including transgender, transnational female-to-male fathers of color in the ranks of queer patriarchy and discuss two contemporary novels, Jackie Kay's Trumpet (1998, Scotland) and Patricia Powell's The Pagoda (1998, Jamaica and the United States), as well asbrieflyan episode an episode of the television show The L-Word (2008) and the documentary U-People (2007). The term ';queer patriarchy' has two components. The first one is a non-traditional, primarilybut not exclusivelynon-heterosexual, pervasively present, and culturally important, paternal subjectivity. The second one is the bond between such queer paternal figures and their sons, biological and non-biological. This study pays attention primarily to the relationship between psyche, language, and ideology, but it will join a larger conversation about the changing roles of men in general and fathers in particular, which is taking place outside of the field of literary studies.

This book is a collection of critical essays that examine a radical shift in focus and orientation. In the challenge to the hermeneutics of suspicion, the adoption of alternative reading strategies, and the investigation of well-being, this collection is an analogue of a new discourse that has immensely enriched literary studies in the last decade.

This book showcases ways in which the theory of Coordinated Management of Meaning (CMM) has been applied in a variety of settings. The title reflects the three sections of the book in which CMM is used with individuals and groups toward making meaning together in constructive and generative ways to make better social worlds through communication.

By taking as its point of departure the privileged relationship between the crime novel and its setting, this book is the most wide-ranging examination of the way in which Italian detective fiction in the last 20 years has become a means to articulate the changes in the social landscape of the country. Nowadays there is a general acknowledgment of the importance of place in Italian crime novels. However, apart from a limited scholarship on single cities, the genre has never been systematically studied in a way that so comprehensively spans Italian national boundaries. The originality of this volume also lies in the fact that the author have not limited her investigation to a series of cities, but rather she has considered the different forms of (social) landscape in which Italian crime novels are set. Through the analysis of the way in which cities, the urban sprawl, and islands are represented in the serial novels of 11 of the most important contemporary crime writers in Italy of the 1990s, Pezzotti articulates the different ways in which individual authors appropriate the structures and tropes of the genre to reflect the social transformations and dysfunctions of contemporary Italy. In so doing, this volume also makes a case for the genre as an instrument of social critique and analysis of a still elusive Italian national identity, thus bringing further evidence in support of the thesis that in Italy detective fiction has come to play the role of the new social novel.

As its startling and aggressive title suggests, Dickens Novels as Verse is no standard work of literary criticism. It is, in fact, altogether new and original. Jordan likens the experience of some of the great Dickens novels, particularly the later ones (namely, A Tale of Two Cities, Great Expectations and Our Mutual Friend) to the experience of lyric verse. The point is not that Dickens novels could ever be mistaken for lyric poems, but that the experience of some of the best of Dickens's novels, despite their undoubted sprawl, is like the experience of lyric poemsis so because the novels are made up of the same things that make great verse great: intricate, largely unnoticeable tissues of alliteration-like patterning that net across the work and give narratively insignificant coherence to it. Dickens Novels as Verse meticulously describes these book-length patterns in clear, lucid prose. Its three chapters, each focused on a single Dickens novel, are full of close analyses that can be immediately used by teachers, students, and all other readers of Dickens to grasp why Dickens always seems to be a greater writer than the quality of his ideas might lead us to expect.

Body of State offers a translation of Marco Baliani's acclaimed dramatic monologue, Corpo di stato, concerning the 1978 kidnapping and assassination of Italian Prime Minister Aldo Moro by the terrorist Red Brigades. Corpo di stato was commissioned by Italian state television in 1998 to commemorate the twentieth anniversary of the ';Moro Affair.' Baliani's monologue, refracted through the prism of the intervening twenty years, consists of a merciless self-examination, alternately anguished and affectionate, in an effort to confront his generations complicity in the dissolution of Italian politics in the wake of the national trauma of Moros murder. Through over a hundred performances since its 1998 debut, the piece has evolved in response to the forceful reactions of Italian audiences. The first draft of this English translation offered the supertitles for performances in Balianis 2009 U.S. tour, and was subsequently expanded to reflect the most recent version of the text.This unique volume features a translation of the dramatic monologue, embedding it in a context that richly documents the events. The volume includes a preface by translator and performance studies scholar Ron Jenkins, a critical introduction, Baliani's thoughts about the 1998 production for Italian television, an interview with Baliani and his artistic collaborator, Maria Maglietta, and the afterword they wrote in light of the 2009 tour. In addition, Body of State provides precious documentation in the form of reviews, contributed by scholars, students, and spectators, of Baliani's 2009 North American tour.A celebrated author and performer, Marco Baliani is well known as one of the originators of the ';theater of narration.' Starting in 1978, his first performances grew directly from his engagement in radical politics. In 1989 he adapted Heinrich von Kleist's novella, Kohlhaas (1989), into a riveting monologue which he performed on a bare stage, sitting on a chair for ninety minutes. Kohlhaas marked his passage to a ';pure' theater of narration and is today a classic of the genre. Since Kohlhaas, Baliani has shown interest in social, political, and literary themes. Recurring in his work are the psychological and ethical tensions that arise when the search for justice clashes with power or social injustice.

This documentary history is intended for the specialist and non-specialist alike. The introductions to the book's sections, together with introductions to each document, provide a general history of the war. The contents cover the pre-war, war, and post-war periods in Cuba, Guam, Hawaii, Puerto Rico, Spain, the Philippines, and the United States. Included are documents on the main battles and diplomatic history of the war, along with internal situations in Cuba, Puerto Rico, Spain, the Philippines, and the United States.

The Life of Catalina de Erauso, the Lieutenant Nun: An Early Modern Autobiography examines Vida y sucesos de la Monja Alferez as a form of autobiography through a comparative study with early-modern secular life narratives: the picaresque novels La vida de Lazarillo de Tormes, y de sus fortunas y adversidades (anonymous), La pcara Justina by Francisco Lopez de beda, the chronicle Relacion que dio Alvar Nez Cabeza de Vaca de lo acaescido en las Indias en la armada donde yva por governador Pnfilo de Narvez desde el ao de veynte y siete hasta el ao de treinta y seis que bolvio a Sevilla con tres de su compaa by Cabeza de Vaca and the soldier's narrative Vida, nacimiento, padres, y crianza del Capitn Alonso de Contreras natural de Madrid Cavallero del orden de San Juan Comendador de una de sus encomiendas en Castilla, escrita por el mismo by Alonso de Contreras. Two questions are addressed: How is Vida y sucesos similar to or different from picaresque novels, chronicles of the New World, and soldiers' narratives? How are the similarities and differences between Vida y sucesos and these forms of writing related to theoretical parameters for an autobiography? In order to conduct this comparative analysis, four theoretical parameters are established for assessing autobiographical texts. These parameters (coincidence of narrator and protagonist, historical referentiality, whether the subjective narration has a plausible basis in the experience and belief structure of the narrator and the intention of the narrator to tell an autobiographical truth) are based upon the critical approach of hybridity and intersubjectivity, but also draw upon related theoretical work. This book argues that Vida y sucesos should be considered as a form of autobiography, with the understanding that autobiography is an intersubjective and hybrid form or a forma fronteriza.

This is the first book-length study of the work of contemporary writer Bernard Kops. Born on November 28, 1926 to Dutch-Jewish immigrants, Bernard Kops became famous after the production of his play The Hamlet of Stepney Green: A Sad Comedy with Some Songs in 1958. This play, like much of his work, focuses on the conflicts between young and old. Identified as an ';angry young man,' Kops, like his contemporaries John Osborne, Shelagh Delaney, and Harold Pinter, belonged to the so-called new wave of British drama that emerged in the mid-1950s.Kops went on to create important documentaries about the Blitz and living in London during the early 1940s. He has written two autobiographies, over ten novels, many journalistic pieces, and more than forty plays for TV, stage, and radio. A prolific poet, Kops has authored a long pamphlet poem and eight poetry collections. Now in his mid-80s, the prolific and versatile Kops still produces, his creativity undimmed by age.

Communicative Engagement and Social Liberation: Justice Will Be Made recognizes limitations in contemporary understandings that separate history and rhetoric. Drawing together ontological and epistemic perspectives to allow for a fuller appreciation of communication in shaping lived-experience, facets of the two academic subjects are united in acts of communicative engagement.Communicative engagement draws from Anna-Teresa Tymieniecka's writings on the human condition; extends the communicative praxis of philosopher Calvin O. Schrag by reuniting theoria-poesis-praxis; expands Ramsey Eric Ramsey's writings to provide ground for vitalizing social liberation; and includes the work of philosophers including Hans-Georg Gadamer, Maurice Merleau-Ponty, and Michel Foucault as well as philosophers of communication including Lenore Langsdorf, Michael J. Hyde, Corey Anton, and others who guide a recollection of the significance of poesis in human communication. Myrtilla Miner, Mary White Ovington, and Jessie Daniel Ames dedicated their lives to being out-of-place and speaking out-of-turn to alter the way humanity was understood by members of society at large. The lived-experiences of these historical figures assists readers in recognizing how creativity (poesis) can potentially enable liberation from restrictive social circumstances.

Toward a Cultural Archive of la Movida revisits the cultural and social milieu in which laMovida, an explosion of artistic production in the late 1970s and early 1980s in Spain, was articulated discursively, aesthetically, socially, and politically. Of interest to both researchers and academics interested in Spanish culture and the processes of political and cultural transition from dictatorship and democracy through the cultural phenomenon known as la Movida, this book offers an expanded critical approach to the study of contemporary Spanish cultural studies.

Norman Bruce Ream was born in southwestern Pennsylvania in 1844, the son of a farmer. He exhibited a commercial sense, but the Civil War interrupted his ambitions. Wounded twice, he returned home a hero.After some unsuccessful business ventures out west, he went to Chicago in 1871 and became a commission merchant in the Union Stockyards. A few years later, he moved uptown and traded grains and provisions in the pits of the Board of Trade. Money poured in. Indeed, by 1886 he was a millionaire (also married and the father of several children). He started investing in real estate, urban transit companies, railroad stockand began consolidating and financing enterprises.At century's end, he was traveling to New York City, impressing financiers like J. Pierpont Morgan. Indeed, he helped Morgan put together the U.S. Steel Corporation and the International Harvester Company, served on many boards, and even advised Morgan during the panic of 1907. But life grew turbulent. Public sentiment soured towards Wall Street and the wealthy. This, along with the presumed indiscretions of some of his children, kept his name in the press. He died in 1915, and gradually, his life was forgotten.

James Edward Shepard was an African-American leader between 1900 and 1947. He was, however, more than a race leader. Shepard was a minister, politician, pharmacist, entrepreneur, world traveler, civil servant, businessman, one of the founders of North Carolina Mutual Life Insurance Company (the worlds largest African-American Life Insurance Company), president of the International Denominational Sunday School Convention, one of the founders of Mechanics and Farmers Bank of Durham, President of the North Carolina Teachers Association, and a visionary.Dr. Shepard was active in several social and fraternal organizations. He was Grand Mast of The Prince Hall Free and Accepted Masons of North Carolina, Grand Patron of the Eastern Star of North Carolina, and Secretary of Finances for the Knights of Pythia. He was on the Board of Trustees of Lincoln Hospital of Durham, the Oxford (NC) Colored Orphanage, member of the Executive Committee of the North Carolina Agricultural Society, and Field Superintendent of Work Among Negros for the International Sunday School Association. He was also an educator, historian, and scholar. He was founder and president of North Carolina Central University, the first State-supported Liberal Arts College for African Americans in the United States.

The history of Western philosophy and science is marked by numerous moments when a major development has emerged from conditions that are manifestly adverse to intellectual activity. This book surveys a wide range of cases, and considers how these achievements were possible and how adversity helped shape the ideas that emerged.

Caribbean Ghostwriting addresses a question central to the fields of postcolonial, feminist, and African diasporic studies:how are we to know the colonial past when the lives of colonized and enslaved people were largely written out of history? Caribbean authors Michelle Cliff, Maryse Conde, and Dionne Brand address the silences and gaps of historiography by fleshing out overlooked historical figures in literary form. These authors do not simply reconstruct lost lives, but rather they foreground the tension between the real, material traces of peoples lives and the fact of their erasure. In novels that are at once historical, biographical, and artistic, they portray real but sparsely documented and therefore haunting histories through a strategy identifiable as ghostwriting. Erica L. Johnson defines ghostwriting as an important genre of Caribbean literature through which authors literally ghostwrite stories for lost historical figures even while they poetically preserve the unspeakable nature of the archival lacunae their novels engage.

This volume draws from a variety of disciplines in an attempt to provide a holistic analysis of diversity within collegiate fraternal life. It also brings a wide range of scholarly approaches to the inquiry of diversity within college fraternities and sororities. It explores not only from whence these groups have come but where they are currently situated and what issues arise as they progress.