In this innovative study, Tyler Whitney demonstrates how a transformation and militarization of the civilian soundscape in the late nineteenth and early twentieth centuries left indelible traces on the literature that defined the period. Both formally and thematically, the modernist aesthetics of Franz Kafka, Robert Musil, Detlev von Liliencron, and Peter Altenberg drew on this blurring of martial and civilian soundscapes in traumatic and performative repetitions of war. At the same time, Richard Huelsenbeck assaulted audiences in Zurich with his “sound poems,” which combined references to World War I, colonialism, and violent encounters in urban spaces with nonsensical utterances and linguistic detritus—all accompanied by the relentless beating of a drum on the stage of the Cabaret Voltaire.

Eardrums is the first book-length study to explore the relationship between acoustical modernity and German modernism, charting a literary and cultural history written in and around the eardrum. The result is not only a new way of understanding the sonic impulses behind key literary texts from the period. It also outlines an entirely new approach to the study of literature as as the interaction of text and sonic practice, voice and noise, which will be of interest to scholars across literary studies, media theory, sound studies, and the history of science.

Recipient of 2007 The Hyde Park Historical Society Paul Cornell Award

At fifteen, Earl Burrus Dickerson stowed away on a train in Canton, Mississippi, fleeing the racial oppression of his native South. But Chicago, the boy's destination, was no haven of racial fairness and equality. His flight north was in fact the beginning of a journey that would last a lifetime--and would forever pit Dickerson against the forces of racial injustice. Earl B. Dickerson's story, told here for the first time, is one of courage and character, of remarkable accomplishment in the face of terrible odds; it is also emblematic of the twentieth-century struggle for civil rights--a crucial chapter of African American history as it was lived by one uncompromising individual.

In this book, Robert J. Blakely tells how Dickerson (1891-1986) worked his way through preparatory schools and college, a segregated officer's training school, and law school at the University of Chicago. The story follows Dickerson's career as general counsel to the first insurance company owned and operated by African Americans; the first African American Democratic alderman elected to the Chicago City Council; a member of FDR's first Fair Employment Practices Committee; leader of the movement that broke the color barrier to membership in the Illinois Bar Association; and, perhaps most famously, the power behind Hansberry v. Lee, the U.S. Supreme Court case that marked the beginning of the end of restrictive real estate covenants--one of the most pernicious legal tools of segregation in the North. Blakely gives us a sense of the man behind the achievements, the life that defied conventions and statistics, and the world in which "the dean of Chicago's black lawyers" became a pioneering architect for equal opportunity in American life.

Nobel Prize winner Jaroslav Seifert's poetry is strongly situated within the Czech literary tradition of Poetism, which evolved into a playful, light-hearted refuge from world history while maintaining an edge of social consciousness. Called "a living symbol of the continuity in modern Czech literature" by Václav Havel, Seifert remains a towering figure in European poetry more than a decade after his death.

Economies of Feeling offers new explanations for the fantastical plots of mad or blocked ambition that set the nineteenth-century Russian prose tradition in motion. Jillian Porter compares the conceptual history of social ambition in post-Napoleonic France and post-Decembrist Russia and argues that the dissonance between foreign and domestic understandings of this economic passion shaped the literature of Nicholas I’s reign (1825 —1855).
 
Porter shows how, for Pushkin, Gogol, Dostoevsky, and Faddei Bulgarin, ambition became a staging ground for experiments with transnational literary exchange. In its encounters with the celebrated Russian cultural value of hospitality and the age-old vice of miserliness, ambition appears both timely and anachronistic, suspiciously foreign and disturbingly Russian—it challenges readers to question the equivalence of local and imported words, feelings, and forms.
 
Economies of Feeling examines founding texts of nineteenth-century Russian prose alongside nonliterary materials from which they drew energy—from French clinical diagnoses of “ambitious monomania” to the various types of currency that proliferated under Nicholas I. It thus contributes fresh and fascinating insights into Russian characters’ impulses to attain rank and to squander, counterfeit, and hoard. Porter’s interdisciplinary approach will appeal to scholars of comparative as well as Russian literature.
 

Poet Henri Michaux boarded a ship for Ecuador in 1927 as "a man who knows neither how to travel nor how to keep a journal." The result is a work of pointed observation and sensual, even hallucinogenic, poetry and prose.

Winner of the 1974 National Book Award

The product of many years of reflection on phenomenology, this book is a comprehensive and creative introduction to the philosophy of Edmund Husserl. Natanson uses Husserl's later work as a clue to the meaning of his entire intellectual career, showing how his earlier methodological work evolved into the search for transcendental roots and developed into a philosophy of the life-world. Phenomenology, for Natanson, emerges as a philosophy of origin, a transcendental discipline concerned with consciousness, history, and world rather than with introspection and traditional metaphysical warfare.

Winner, 1997 National Book Award for Poetry

A contemporary of Berryman, Bishop, and Lowell, William Meredith shared neither the bohemian excesses of the Beats nor the exhibitionist excesses of the "confessional" poets. Rather, he was known as a poet whose unadorned, formal verse marked him as a singular voice. Effort at Speech, the definitive collection of Meredith's life work, contains poems chosen by the author from throughout his career, as well as several new works and an essay by Michael Collier placing Meredith in his times.

The plays of Arthur Schnitzler have in recent years come to be recognized as masterpieces of modernism. This collection presents the most accurate translations available of Schnitzler's works, passing up opportunities to paraphrase and instead flushing out vivid detail and psychological insight by combining a sensitive interpretation of the playwright's sometimes ironic, sometimes farcical, temperament with a faithful re-creation of dialogue.

The volume includes Schnitzler's popular Roundelay (La Ronde) and Anatol, as well as rarely translated works like Professor Bernhardi and Hour of Realizing. There are also additional scenes and an alternate ending to Anatol that are seldom found in translation or even in German versions of the play. With conscientious attention to the rhythms of speech and respect for the completeness of the works, these translations offer new possibilities for bringing Schnitzler's works to the contemporary stage and new insights for anyone interested in drama, literature, or history.

Russia produced more notable dramas in the twentieth century than at any other time in its history, yet many of the plays from this period have been only sporadically available in English, and others have never been translated before. For each of these eight works, Timothy Langen and Justin Weir provide an insightful introduction to the literary, cultural, and political contexts in which the plays first appeared, considering the influence that various literary movements had on the development of Russian drama and exploring the effect of the increasingly politicized climate of the new Soviet state.

Included in this volume:

Sacred Blood, by Zinaida Gippius; The Unknown Woman, by Alexander Blok; Vladimir Mayakovsky, by Vladimir Mayakosky; The Case of the Entry Room, by Victor Ardov; Squaring the Circle, by Valentin Kataev; Elizaveta Bam, by Daniil Kharms; Grain, by Vladimir Kirshon; and The Guests, by Leonid Zorin.

Winner of the 1926 Novel Prize for Literature

After serving time in mainland Italy for a minor theft, Elias Portolu returns home to Nuoro, in rural Sardinia. Lonely and vulnerable after his prison exile, he falls in love with his brother's fiancée. But he finds himself trapped by social and religious strictures, his passion and guilt winding into a spiral of anguish and paralyzing indecision. For guidance he turns first to the village priest, who advises him to resist temptation; then he turns to the pagan "father of the woods," who recognizes the weakness of human will and urges him to declare his love before it is too late.

A radical reinterpretation of the origin of religion through a psychoanalytic theorization of the unknown
 
Renowned psychoanalytic philosopher Richard Boothby puts forward a novel theory of religion inspired by Jacques Lacan’s theory of das Ding, the disquieting, inaccessible dimension of fellow human beings. This notion of an unfathomable excess, originally encountered in the figure of the mother, led Lacan to break with Freud’s formulation of the Oedipus complex and underlies Lacan’s distinctive conception of unconscious dynamics. Leaning on this account, Boothby shows how our sense of the sacred arises from our relation to what we do not know.
 
Embracing the Void lays out the range of Freud’s attempts at a psychoanalytic theory of religion and then sketches the rough contours of Lacan’s contrasting approach. From there, Boothby offers the theoretical tools for interpreting the religious impulse and analyzes key religious traditions, from ancient Greek polytheism to Judaism and Christianity, and from Hinduism and Buddhism to Islam, finally turning to modern capitalist culture and the seductive deity that dominates it—money. Lucid, accessible, and compelling, the book provides a cogent intervention in one of the psychoanalytic tradition’s most contentious topics and offers a new approach to our understanding of religion.

Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency.
 
Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and supported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art. What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties.
 
Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.

Plato’s Philebus presents a fascinating dialogue between the life of the mind and the life of pleasure. While Socrates decisively prioritizes the life of reason, he also shows that certain pleasures contribute to making the good life good. The Emerging Good in Plato’s "Philebus" argues that the Socratic pleasures of learning emphasize, above all, the importance of being open to change.
 
John V. Garner convincingly refines previous interpretations and uncovers a profound thesis in the Philebus: genuine learners find value not only in stable being but also in the process of becoming. Further, since genuine learning arises in pluralistic communities where people form and inform one another, those who are truly open to learning are precisely those who actively shape the betterment of humanity.
 
The Emerging Good in Plato’s "Philebus" thus connects the Philebus’s grand philosophical ideas about the order of values, on the one hand, to its intimate and personal account of the experience of learning, on the other. It shows that this dialogue, while agreeing broadly with themes in more widely studied works by Plato such as the Republic, Gorgias, and Phaedo, also develops a unique way of salvaging the whole of human life, including our ever-changing nature.
 

What is the meaning of strong emotions? What is emotion itself? What is really happening in therapy when people "express their emotions?"

As James Hillman writes in his new preface to this sweeping study, he intends nothing less than "to vitalize a standard topic of academic psychology by making the theory of emotion as crucial as is emotion itself in our lives." Hillman offers an informative and readable survey of a range of theories of emotion, focusing on the twentieth century but moving also from Greek thought to early Christianity to nineteenth-century German physiology. The work challenges readers to rethink our concepts and thereby to re-experience emotional phenomena.

Hillman's study contributes to today's renewed interest in the history of the body. Furthermore, his understanding of emotions in terms of epiphany makes a stimulating contribution to phenomenology. It is equally thought-provoking for the therapist, the philosopher, the intellectual historian, and the general reader.

Deploying literary analysis, theories of emotion from the sciences and humanities, and an archival account of Tudor history, Emotion in the Tudor Court examines how literature both reflects and constructs the emotional dynamics of life in the Renaissance court. In it, Bradley J. Irish argues that emotionality is a foundational framework through which historical subjects embody and engage their world, and thus can serve as a fundamental lens of social and textual analysis.

Spanning the sixteenth century, Emotion in the Tudor Court explores Cardinal Thomas Wolsey and Henrician satire; Henry Howard, Earl of Surrey, and elegy; Sir Philip Sidney and Elizabethan pageantry; and Robert Devereux, Earl of Essex, and factional literature. It demonstrates how the dynamics of disgust,envy, rejection, and dread, as they are understood in the modern affective sciences, can be seen to guide literary production in the early modern court.

By combining Renaissance concepts of emotion with modern research in the social and natural sciences, Emotion in the Tudor Court takes a transdisciplinary approach to yield fascinating and robust ways to illuminate both literary studies and cultural history. 

The Americans with Disabilities Act of 1990 (ADA) was heralded by its congressional sponsors as an "emancipation proclamation" for people with disabilities and as the most important civil rights legislation passed in a generation. Employment, Disability, and the Americans with Disabilities Act offers a meticulously documented assessment of what has occurred since the ADA's enactment. In reasoned, empirically based articles, contributors from law, health policy, government, and business reveal the unsoundness of charges from the right that the ADA will bankrupt industry and assumptions on the left that the ADA will prove ineffective in helping those with disabilities enter and remain in the workforce.

Winner, 2019 John W. Frick Book Award
Winner, 2020 Ann Saddlemyer Award
Finalist, ATHE Outstanding Book Award for 2020
Mention Spéciale, Société québécoise d'études théâtrale

In Encounters on Contested Lands, Julie Burelle employs a performance studies lens to examine how instances of Indigenous self-representation in Québec challenge the national and identity discourses of the French Québécois de souche—the French-speaking descendants of white European settlers who understand themselves to be settlers no more but rather colonized and rightfully belonging to the territory of Québec. 

Analyzing a wide variety of performances, Burelle brings together the theater of Alexis Martin and the film L'Empreinte, which repositions the French Québécois de souche as métis, with protest marches led by Innu activists; the Indigenous company Ondinnok's theater of repatriation; the films of Yves Sioui Durand, Alanis Obomsawin, and the Wapikoni Mobile project; and the visual work of Nadia Myre. These performances, Burelle argues, challenge received definitions of sovereignty and articulate new ones while proposing to the province and, more specifically, to the French Québécois de souche, that there are alternative ways to imagine Québec's future and remember its past. 

The performances insist on Québec's contested nature and reframe it as animated by competing sovereignties. Together they reveal how the "colonial present tense" and "tense colonial present" operate in conjunction as they work to imagine an alternative future predicated on decolonization. Encounters on Contested Lands engages with theater and performance studies while making unique and needed contributions to Québec and Canadian studies, as well as to Indigenous and settler-colonial studies.

In 1994 Russian writer Victor Erofeyev proclaimed Leonid Dobychin "one of the main heroes of twentieth-century Russian literature." Obscure for many years, Dobychin is now celebrated as a modernist master. His short stories are hailed as a sort of Soviet version of Joyce's Dubliners-subtle and tightly constructed miniatures linked by recurring themes and full of ironic juxtaposition, context, allusion, and style.

For Dobychin early Soviet society was an absurdist wonderland. He was not anti-Soviet but trans-Soviet, practicing realism but looking at reality from jarring angles. A typical day for a Dobychin hero includes participation in character-building sports, witnessing a parade, attending a funeral, and memorial to fallen communists-and finally reflecting at the end of the day that he almost met a pretty young sick-nurse. Dobychin's stories reveal a Brave New World where idealism rubs shoulders with heartless ambition and political denunciation, and ubiquitous acronyms and revolutionary cliché maul the language. But he also describes the absurdities of a place where office girls pray for the arrest of disliked co-workers and prisoner work gangs are made to spell out beautiful but empty platitudes in beds of sand. This collection includes all of the stories published in Dobychin's lifetime, plus two stories that remained unpublished until the late 1980s.

This anthology has its origins in the Encuentro theater festival, which was produced by the Latino Theater Company in association with the Latinx Theatre Commons in Los Angeles in 2014. Encuentro means “an encounter,” and meetings form a core theme in these six groundbreaking plays, each prefaced by a critical introduction from a leading Latinx theater scholar.

Playwrights Ruben C. Gonzalez, José Torres-Tama, Rickerby Hinds, Mariana Carreño King, Javier Antonio González, and Evelina Fernández exhibit a wide range of aesthetic approaches, dramatic structures, and themes, ranging from marriage, gentrification, racial and gendered violence, migration, and the ever-present politics of the U.S.–Mexico border. There is power in the communal experience of creating, witnessing, and participating in theater festivals. This anthology is a testament to that power and seeks to document the historic festival as well as to make these works available to a wider audience.

Encuentro: Latinx Performance for the New American Theater addresses interests of general audiences committed to the performing arts; scholars and students of Latinx, gender, and ethnic studies; university, college, and high school theater programs; and regional theaters looking to diversify their programming.

 

The End of Chiraq: A Literary Mixtape is a collection of poems, rap lyrics, short stories, essays, interviews, and artwork about Chicago, the city that came to be known as "Chiraq" ("Chicago" + "Iraq"), and the people who live in its vibrant and occasionally violent neighborhoods. Tuned to the work of Chicago’s youth, especially the emerging artists and activists surrounding Young Chicago Authors, this literary mixtape unpacks the meanings of “Chiraq” as both a vexed term and a space of possibility.

"Chiraq" has come to connote the violence—interpersonal and structural—that many Chicago youth regularly experience. But the contributors to The End of Chiraq show that Chicago is much more than Chiraq. Instead, they demonstrate how young people are thinking and mobilizing, engaged in a process of creating a new and safer world for themselves, their communities, and their city.

In true mixtape fashion, the book is an exercise in "low end theory" that does not just include so-called underground and marginal voices, but foregrounds them. Edited by award-winning poets, writers, and teachers Javon Johnson and Kevin Coval, The End of Chiraq addresses head-on the troublesome relationship between Chicago and Chiraq and envisions a future in which both might be transformed.

In this collection of essays, leading scholars provide a variety of models from which to view the unique relationship between the bodies of thought of Heidegger and Hegel, revealing how these philosophers offer ways of thinking historically that understand such thinking not merely as extensions and elaborations of a given paradigm but as actively engaged in the critical and transformative revisioning of the world.

Beginning at the point where Heidegger encountered Hegel, this volume of provocative essays addresses the respective philosophies of the two men. Leading scholars provide a variety of models from which to view the unique relationship between the bodies of thought of Heidegger and Hegel: bodies of thought that cannot be taken as two objects to be compared, contrasted, and finally evaluated but that must be viewed in dynamic terms, as a relationship in which self-transformations lead to mutual transformations and vice versa.

Sots-art, the mock use of the Soviet ideological clichés of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and provocative guide, Endquote: Sots-Art Literature and Soviet Grand Style examines the conceptual aspect of sots-art, sots-art poetry, and sots-art prose, and discusses where these still-vital intellectual currents may lead.

The English Novel in the Magazines, 1740–1815, explores the popularity of magazines in the nineteenth century and the ways that much of the published fiction of the time appeared serially in these publications. Robert D. Mayo's groundbreaking study remains important to scholars of the nineteenth century as one of the first books to examine in a systematic manner the impact of magazines on reading and the dissemination of fiction in nineteenth-century England.
 

Featuring the work of: About Face Youth Theatre • Albany Park Theater Project • Barrel of Monkeys • Every house has a door • FEMelanin • 500 Clown • Free Street Theater • Honey Pot Performance • Lookingglass Theater • The Neo-Futurists • The Second City • Southside Ignoramus Quartet • Teatro Luna • Walkabout Theater • Young Fugitives

Ensemble-Made Chicago brings together a wide range of Chicago theater companies to share strategies for cocreating performance. Cocreated theater breaks down the traditional roles of writer, director, and performer in favor of a more egalitarian approach in which all participants contribute to the creation of original material. Each chapter offers a short history of a Chicago company, followed by detailed exercises that have been developed and used by that company to build ensemble and generate performances. Companies included range in age from two to fifty years, represent different Chicago neighborhoods, and reflect both the storefront tradition and established cultural institutions. The book pays special attention to the ways the fight for social justice has shaped the development of this aesthetic in Chicago.

Assembled from interviews and firsthand observations, Ensemble-Made Chicago is written in a lively and accessible style and will serve as an invaluable guide for students and practitioners alike, as well as an important archive of Chicago’s vibrant ensemble traditions. Readers will find new creative methods to enrich their own practice and push their work in new directions.

This history of environmental journalism looks at how the practice now defines issues and sets the public agenda evolving from a tradition that includes the works of authors such as Pliny the Elder, John Muir, and Rachel Carson. It makes the case that the relationship between the media and its audience is an ongoing conversation between society and the media on what matters and what should matter.

In the autumn of 1834, Alexander Kinglake and John Savile set out together for Turkey and the Levant. When Savile was summoned home Kinglake, accompanied only by his guide and interpreter, went on by ship to Cyprus and Beirut, then to the Holy Land, Cairo, and Damascus. On his own in a foreign world, Kinglake used the solitary travel for prolonged self-scrutiny, and ultimately for liberation.

Eothen has the freshness of the immediate and the new. Kinglake kept it free of the details of geography, history, science, politics, religion, and statistics; it is far less about the countries and the cities he passes through that it is about himself. This is what makes Eothen a modern travel book, possibly the first and certainly one of the greatest of its kind.

The antifascist exile beginning in 1933 led to a cooling among the émigrés of the artistic and literary modernist experiments of the Weimar Republic and to a return to realism and the traditional novel form. Epic and Exile examines the Popular Front– oriented cultural initiatives of the 1930s less in terms of their political strategy than in their function as a cultural and literary program for the exiles, implying a specific relationship to questions of artistic form, historical conceptions, and indeed the political as such. A popular front aesthetics is, Bivens argues, realist and modernist at once, and, in its focus on the opacities and contradictions of everyday life as a historical formation, it is particularly concerned with problems of the epic form.

The Epistemology of G. E. Moore is an examination of the philosophy of G. E. Moore, one of the foremost Anglo-American, analytic philosophers of the twentieth century.This book, together with Reinhardt Grossmann’s Reflections on Frege’s Philosophy and Moltke Gram’s Kant, Ontology, and the A Priori, seeks to redress an imbalance in analytic philosophy by making a case for the relevance of analytically oriented historical studies to contemporary problems. It focuses on Moore’s epistemological writings and aims to present an exhaustive overview of Moore’s work on this topic.
 

Winner of 1997 Carl Sandburg Award

On May 21, 1991, University of Chicago professor Ioan Culianu was murdered execution-style on campus. The crime stunned the school, terrified students, and mystified the FBI. The case remains unsolved. In Eros, Magic, and the Murder of Professor Culianu, award-winning investigative reporter Ted Anton shows that the murder is what Culianu's friends suspected all along: the first political assassination of a professor on American soil.

These fourteen essays reflect the increasingly interdisciplinary character of Russian literature research in general and of the study of Gogol in particular, focusing on specific works, Gogol's own character, and the various approaches to aesthetic, religious, and philosophical issues raised by his writing.

A collection of essays by American, Russian, and German scholars examining the work of the poet Karolina Pavlova.

This classic ethnomusicological survey provides as a valuable guide to African music. The essays review a broad swath of genres and topics, including court songs and music history, musical instruments in different traditions, and the connection between Islam and African music. Contributors are Lois Ann Anderson, John Blacking, Philip J. C. Dark, David M. Dixon, Akin Euba, John D. Fage, Matthew Hill, A. M. Jones, Percival R. Kirby, J. H. Kwabena Nketia, Gilbert Rouget, David K. Rycroft, and Klaus P. Wachsmann.

The Essential Fictions offers contemporary readers seventy-two short stories by one of twentieth-century Russia’s premier storytellers, Isaac Babel. This unique volume, which includes Babel’s famous Red Cavalry series and his Odessa Stories, is translated, edited, introduced, and annotated by Val Vinokur, a 2008 Guggenheim Fellow in Translation, and features illustrations by Yefim Ladyzhensky, a painter known for his depictions of everyday life under Soviet rule in Babel’s native Odessa.

Babel was born in 1894 into multicultural Odessa’s thriving Jewish community. Working as a journalist, he witnessed the Bolshevik Revolution and Civil War, and accompanied the Cossack horsemen of the Red Cavalry during the 1920 Polish-Soviet War, distilling these experiences into his fiction. Vinokur highlights Babel’s “horrified hopefulness” and “doleful and bespectacled Jewish comedy” in the face of the bloody conflicts that plagued his generation.

On the centenary of the revolution that toppled the Romanov tsars, Babel’s fictions continue to absorb and fascinate contemporary readers interested in eastern European and Jewish literature as well as the history and politics of the twentieth century.

However widely—and differently—Jacques Derrida may be viewed as a "foundational" French thinker, the most basic questions concerning his work still remain unanswered: Is Derrida a friend of reason, or philosophy, or rather the most radical of skeptics? Are language-related themes--writing, semiosis--his central concern, or does he really write about something else? And does his thought form a system of its own, or does it primarily consist of commentaries on individual texts? This book seeks to address these questions by returning to what it claims is essential history: the development of Derrida's core thought through his engagement with Husserlian phenomenology. Joshua Kates recasts what has come to be known as the Derrida/Husserl debate, by approaching Derrida's thought historically, through its development. Based on this developmental work, Essential History culminates by offering discrete interpretations of Derrida's two book-length 1967 texts, interpretations that elucidate the until now largely opaque relation of Derrida's interest in language to his focus on philosophical concerns.

A fundamental reinterpretation of Derrida's project and the works for which he is best known, Kates's study fashions a new manner of working with the French thinker that respects the radical singularity of his thought as well as the often different aims of those he reads. Such a view is in fact "essential" if Derrida studies are to remain a vital field of scholarly inquiry, and if the humanities, more generally, are to have access to a replenishing source of living theoretical concerns.

The Essential Turgenev will provide American readers with the first comprehensive, portable edition of this great Russian author's works. It offers an extensive introduction to the writings that established Turgenev as one of the preeminent literary figures of his time, and reveals the breadth of insight into changing social conditions that made Turgenev a portal to Russian intellectual life.

Readers will find complete, exemplary translations of Turgenev's finest novels, Rudin, A Nest of Gentry, and Fathers and Sons, along with the lapidary novella First Love. The volume also includes selections from Sportsman's Sketches, seven of Turgenev's most compelling short stories, and fifteen prose poems. It also contains samples of the author's nonfiction drawn from autobiographical sketches, memoirs, public speeches, plus the influential essay "Hamlet and Don Quixote" and correspondence with Dostoevsky, Tolstoy, and others.

In Essential Vulnerabilities, Deborah Achtenberg contests Emmanuel Levinas’s idea that Plato is a philosopher of freedom for whom thought is a return to the self. To the contrary, she agrees, Plato, like Levinas, is a philosopher of the other. While they share the view that human beings are essentially vulnerable and in relation to others, they conceive human vulnerability and responsiveness differently.

For Plato, when ones see beauty in others, one is overwhelmed by the beauty of what is, by the vision of eternal form. For Levinas, on the other hand, we are disrupted by the newness, foreignness, or singularity of the other. For him, the other is not eternal, but new or foreign. The other is an unknowable singularity. By bringing into focus these similarities and differences, Achtenberg resituates Plato in relation to Levinas and opens up two contrasting ways that self is essentially in relation to others.

In The Ethics of Postmodernity, Gary B. Madison and Marty Fairbairn have collected instructive and illuminating essays that address the dilemmas left in the wake of the postmodern attack on foundationalism. This collection is a powerful statement on the many directions a postmetaphysical ethics might take.

Contributors include Barry Allen, Caroline Bayard, Robert Bernasconi, Thomas W. Busch, M.C. Dillon, Marty Fairbairn, Paul Fairfield, Morny Joy, Richard Kearney, Gary B. Madison, Joseph Margolis, Tom Rockmore, Charles E. Scott, Evan Simpson, and Mark Williams.

 

The Ethiopian popular revolution of 1974 ended a monarchy that claimed descent from King Solomon and the Queen of Sheba, and brought to power a military government that created one of the largest and best-equipped armies in Africa. In his panoramic study of the Ethiopian army, Fantahun Ayele draws upon his unprecedented access to Ethiopian Ministry of Defense archives to study the institution that was able to repel the Somali invasion of 1977 and suppress internal uprisings, but collapsed in 1991 under the combined onslaught of armed insurgencies in Eritrea and Tigray. Besides military operations, The Ethiopian Army discusses tactical areas such as training, equipment, intelligence, and logistics, as well as grand strategic choices such as ending the 1953 Ethio-American Mutual Defense Agreement and signing a treaty of military assistance with the Soviet Union. The result sheds considerable light on the military developments that have shaped Ethiopia and the Horn in the twentieth century.

Dividing his youth between the United States and the bilingual Alsace-Lorraine, Eugene Jolas (1894–1952) flourished in three languages. As an editor and poet, he came to know the major writers and artists of his time and enjoyed a pivotal position between the Anglo-American and Continental avant-garde. His editorship of transition, the leading avant-garde journal of Paris in the twenties and early thirties, provided a major impetus to writers from James Joyce (whose Finnegans Wake was serialized in transition) to Gertrude Stein, and Samuel Beckett, with first translations of André Breton, and Franz Kafka, among others. Jolas’s critical work, collected in this volume, includes introductions to anthologies, manifestoes like the famous Vertical, essays, some published here for the first time, on writers as various as Novalis, Trakl, the major Surrealists, Heidegger, and other philosophers. An acute observer of the literary scene as well as of the roiling politics of the time, Jolas emerges here in his role at the very center of avant-garde activity between the wars. Accordingly, this book is of signal importance to anyone with an interest in modernism, avant-garde, multilingualism, and the culture of Western Europe in the first half of the twentieth century.

Originally published in 1961, this shrewd, smartly written novel follows two American men traveling in Europe. Though both have struck out for the same continent, each man’s methods of and motives for travel lead him to have a very different experience than the other. Underlying it all is the premise that Europe--the contrast, the otherness of it--can be a refiner’s fire, deeply affecting a person’s character. Europe represents a crucial step in Stern’s development as a writer and stands as a witty, sharp point of entry into his writings and the writings of novelists who rose to prominence in the 1960s.

Finalist, 1991 National Book Award for Poetry

Winner, Terrence Des Pres Prize for Poetry

 

"I lean into my own loving/touch, for which no wound/is too ugly,' Linda McCarriston says at the end of 'Healing the Mare,' one of the many poems of extraordinary poignancy and power in Eva-Mary. These unflinching poems of violence and violation and loss earn her the right to such a claim. It's a survivor's claim and these are the poems of a survivor, as scrupulous in their language and art as they are in their quest to register honestly the familial unspoken, a life inside a life." --Stephen Dunn

 

 

Hailed as one of the most important Eastern European writers of the post-Communist era, Pavel Vilikovsky actually began his career in 1965. But the political content of his writing and its straightforward treatment of such taboo topics as bisexuality kept him from publishing the works collected here until after the Velvet Revolution.

The stories in Everyone Remain Calm reveal landscapes where the surreal and the familiar clash, to visceral effect. A woman yearns for—and dreads—the snowfall that arrives whenever her ex-boyfriend returns to the home she shares with their son. Another character reassures herself after breakups by seeking out the monster under her bed, the Incredible Hulk himself, for rebound sex that can be hot, heavy, and unnerving. Marching bands blare all the way from New Orleans to the Midwest. There are wild shootouts, rising tides, and perils embedded in the act of storytelling itself. “There are words that can kill you if you’re not careful,” Stielstra writes. And the stories we tell ourselves are the most fantastic tales of all. Everyone Remain Calm is eerie, hilarious, moving, and down-to-earth, even as its characters defy the rules—sometimes in the ways we wish we could.

 
Innovative poets such as Vsevolod Nekrasov, Lev Rubinstein, and Dmitry Prigov are among the most prominent literary figures of Russia in the 1980s and 1990s, yet they are virtually unknown outside Russia. The same is true of the numerous active Russian performance art groups, especially the pioneering Collective Actions group led by the brilliantly inventive Andrei Monastyrsky. Everything Has Already Been Written strives to make Moscow Conceptualism more accessible, to break the language barrier and to foster understanding among an international readership by thoroughly discussing a broad range of specific works and theories. Janecek’s study is the first comprehensive analysis of Moscow Conceptualist poetry and theory, vital for an understanding of Russian culture in the post‑Conceptualist era.
 

No matter how irrefutable it may seem, evidence is often a matter of interpretation. Incomplete, inconclusive, imprecise, or vague, it is nonetheless the basis of myriad everyday conclusions and decisions. In this authoritative work, David A. Schum develops a general theory of evidence as it is understood and applied across a broad range of disciplines and practical undertakings.

Synthesizing insights from law, philosophy and logic, probability, semiotics, artificial intelligence, psychology, and history, Schum provides a detailed examination of the various properties and uses of evidence and the evaluative skills evidence requires. Along with the evidential subtleties of probabilistic reasoning, Schum also explores the processes by which evidence is generated or discovered and looks at the intellectual and practical underpinnings of probabilistic reasoning. It is a useful resourse for students, researchers, and practitioners of every discipline concerned with evidence and its inferential use.

Yury Trifonov took a turn toward the controversial, and a leap toward greatness, with the publication of the two novellas included in this collection. "The Exchange" and "The Long Goodbye" depict the complex dilemmas and compromises of Russian life after World War II. These works, along with the short stories "Games at Dusk" and "A Short Stay in the Torture Chamber," detail the moral and spiritual decline in Russia that resulted from the growing distance between the theoretical idealism of the Soviet state and the actual materialism and careerism that increasingly marked society.

Righteously angry, riotously funny, and wise to the tensions between abstract policy and lived experience, Ike Holter's play Exit Strategy centers on vivid, unforgettable characters struggling to maintain faith in a vocation that is being determinedly undermined.

Drawing from the headlines, Exit Strategy is set in Chicago and tells the story of a fictional public high school slated for closure at the end of the year. Despite funding cuts, bureaucrats run amok, apathy, and a rodent infestation, a small, multiracial group of teachers launch a last-minute effort to save the school, and put their careers, futures, and safety in the hands of a fast-talking administrator who may be in over his head. The tenuous situation also raises fears and anxieties among students, and within the volcanic neighborhood that is home to the school. 

Holter has said that Exit Strategy was inspired by the 2013 mass closure of forty-nine Chicago public schools, which displaced nearly 12,000 children—the majority of directly impacted students were African American and Latinx. Hailed as "riveting," "sharp," and "richly metaphoric" by critics, the play indicts how we educate our children in big American cities, and shows why gaps between haves and have-nots continue to grow.

Exit Strategy is one of seven plays in Ike Holter's cycle of works set in Chicago or Chicago-inspired neighborhoods. 
 

Expanding Hermeneutics examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

A clarifying examination of Gilles Deleuze’s first book shows how he would later transform the problem of immanence into the problem of difference
 
Despite the wide reception Gilles Deleuze has received across the humanities, research on his early work has remained scant. Experience and Empiricism remedies that gap with a detailed study of Deleuze’s first book, Empiricism and Subjectivity, which is devoted to the philosophical project of David Hume. Russell Ford argues that this work is poorly understood when read simply as a stand-alone study on Hume. Its significance only becomes apparent within the context of a larger problematic that dominated, and continues to inform, modern European philosophy: the conceptual constitution of a purely immanent account of existence. While the importance of this debate is recognized in contemporary scholarship, its genealogy—including Deleuze’s place within it—has been underappreciated. This book shows how Deleuze directly engages in an ongoing debate between his teachers Jean Wahl and Jean Hyppolite over experience and empiricism, an intervention that restages the famous encounter between rationalism and empiricism that yielded Kant’s critical philosophy. What, Deleuze effectively asks, might have happened had Hume been the one roused from his empirical dogmatic slumber by the rationalist challenge of Kant?

In Experience and Judgment, Husserl explores the problems of contemporary philosophy of language and the constitution of logical forms. He argues that, even at its most abstract, logic demands an underlying theory of experience. Husserl sketches out a genealogy of logic in three parts: Part I examines prepredicative experience, Part II the structure of predicative thought as such, and Part III the origin of general conceptual thought. This volume provides an articulate restatement of many of the themes of Husserlian phenomenology.

This groundbreaking work speaks from the frontiers of philosophy. In Experiencing and the Creation of Meaning, Eugene Gendlin examines the edge of awareness, where language emerges from nonlanguage. In moving back and forth between what is already verbalized and what is as yet unarticulated, he shows how experiencing functions in the transitions between one formulation and the next. A whole array of more than logical "characteristics" enables us to examine as well as to employ this new kind of thinking, which is not merely conceptual because it begins from the intricacy of felt meaning and returns to it again and again.

Experiencing and the Creation of Meaning addressed the unavoidable variety of conceptual formulations and other questions that have now become central.

 

How far from our imperfect human selves have we traveled? How shall we recover what is left, live within our man-made technologies built to be more powerful than us, and still keep a sense of humor? Extravagant Rescues, a sublime collection of poetry, lays bare the human and poetic brilliance of a man immersed in capturing human beings’ mortal splendor and frailty within their own technology and flaws.

The poems ask questions with hymnlike couplets, in a language of the gospel of empathy. We are allowed to rethink our choices, question and be wary of our machinery, and, in the end, with metaphors that channel feelings of loss, humor, and compassion, we are reminded “to come, and dream, with eyes wide open / and set within the vessels of our waking selves, / of ever more intricate schemes, extravagant rescues.”