Why are many readers drawn to stories that texture ethnic experiences and identities other than their own? How do authors such as Salman Rushdie and Maxine Hong Kingston, or filmmakers in Bollywood or Mexico City produce complex fiction that satisfies audiences worldwide? In Analyzing World Fiction, fifteen renowned luminaries use tools of narratology and insights from cognitive science and neurobiology to provide answers to these questions and more.

With essays ranging from James Phelan's "Voice, Politics, and Judgments in Their Eyes Were Watching God" and Hilary Dannenberg's "Narrating Multiculturalism in British Media: Voice and Cultural Identity in Television" to Ellen McCracken's exploration of paratextual strategies in Chicana literature, this expansive collection turns the tide on approaches to postcolonial and multicultural phenomena that tend to compress author and narrator, text and real life. Striving to celebrate the art of fiction, the voices in this anthology explore the "ingredients" that make for powerful, universally intriguing, deeply human story-weaving.

Systematically synthesizing the tools of narrative theory along with findings from the brain sciences to analyze multicultural and postcolonial film, literature, and television, the contributors pioneer new techniques for appreciating all facets of the wonder of storytelling.

The effort to achieve greater European unity has absorbed the interests and energies of a number of Europeans and Americans since the end of World War II. Edward Heath, who led Britain's earliest attempt to join the European Economic Community, first made this comprehensive statement of the philosophy and purpose behind the movement for European unity in a series of lectures he gave at Harvard University in March 1967. In discussing the future development of Europe, Mr. Heath considered factors relating to domestic and foreign politics, economics, and defense, presenting a complete picture of Europe and suggesting a course that might bring about a successful unity.

"The lectures," writes Mr. Heath in 1970, "...were an attempt to look behind the immediate headlines and examine in greater depth the stage which Europe had reached in its search for unity. I was particularly concerned to trace the development of the European Economic Community and to deduce from its history the direction of its future development. At the same time I examined Britain's attitude towards the EEC and how British aspirations in Europe fitted into a general concept of Britain's place in the world..."

"Much has happened since March 1967, but insofar as they concern Europe, events have in a curious way brought us full circle. Now, as in 1967, we in Europe are in the middle of a lively debate about our future. This debate has two main facets. It is partly a debate throughout our continent on the meaning and content of the search for European unity. It is partly a debate within Britain on the likelihood and wisdom of Britain's entry into the EEC and on the effect which such entry would have upon our future prosperity, security, and national identity."

Mr. Heath has updated the lectures in his introduction, although his lucid and intelligent analysis remains extremely far-sighted even in the context of subsequent political changes and events. His consideration of Europe's future is not merely theoretical--Mr. Heath speaks from the standpoint of one who has had direct and continuous practical experience with the problems of Europe. His frank recognition of Britain's loss of power in the world and his belief that through Europe his country may win new influence and play a new political role attest to his great insight. These lectures are thus an important political statement by one of Europe's outstanding leaders.

Nine essays first presented at the Historians of Islamic Art Association’s seventh biennial symposium, entitled “Regime Change.”

The essays collected in this volume highlight some of the regimes of thought and changing trends that structure the field of Islamic art history. The authors present new research exploring the intentions of patrons, the agency of craftsmen, and their responses to previous artistic production, thereby allowing artifacts and monuments to be set within their historical, social, and artistic contexts.

In their contributions, Annabel Teh Gallop, Dmitry Bondarev, and Umberto Bongianino discuss significant changes to Qur’an production due to dynastic and political regime changes in Sumatra and the Malay Peninsula, as well as in Borno and Morocco in Africa. Corinne Mühlemann looks at changes in the role and status of designers and weavers making silk in Khurasan in the post-Mongol period. Lisa Golombek, Michael Chagnon, and Farshid Emami explore Safavid art and architecture, focusing on the material and sensorial qualities of a group of tiled arch panels tiles with narrative scenes, a delicately painted vase, and the clocks of the main square of seventeenth-century Isfahan. Regime change also comes about through technological shifts, and Ulrich Marzolph and Yasemin Gencer ask how the rise of photography and new printing techniques shaped the production, exchange, and transmission of images in Iran and Turkey.