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''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton
"A new novel from the author of Oleander Girl, a novel in stories, built around crucial moments in the lives of 3 generations of women in an Indian/Indian-American Family"--
The essays in this edited volume, written in English and French, tackle the intriguing problems of fear and safety by analysing their various meanings and manifestations in literature and other narrative media. The articles bring forth new, cross-cultural interpretations on fear and safety through examining what kinds of genre-specific means of world-making narratives use to express these two affectivities. The articles also show how important it is to study these themes in order to understand challenges in times of global threats, such as the climate crisis, and - to imagine a better future. The main themes of the book are approached from various theoretical perspectives as related to their literary and cultural representations. Recent trends in research, such as affect and risk theory, serve as the basis for the discussion. Many of the articles in the volume discuss apocalyptic and dystopian narratives that currently permeate the entire cultural landscape. Dystopian narratives do not only deal with future threats, such as totalitarianism, technocracy, or environmental disasters, but also suggest alternative ways of being and new hopes in the form of political resistance. The articles in the volume also draw from disciplines such as gender studies and trauma studies to examine the threats posed by collective fears and aggression on individuals' lives and propose ways of coping with fear. These themes are addressed also in articles analysing new adaptations of old myths that retell stories of the past.
Child of materialism and positivism, Courbet was without a doubt one of the most complex painters of the nineteenth century. Symbolising the rejection of traditions, Courbet did not hesitate to confront the public with the truth by liberating painting of conventional rules. He became from then on the leader of pictorial realism.
"Liberalism" is widely used to describe a variety of social and political ideas, but has been an especially difficult concept for historians and political scientists to define. Burckhardt, Mill, and Tocqueville define one type of liberal thought. They share an aristocratic liberalism marked by distaste for the masses and the middle class, opposition to the commercial spirit, fear and contempt of mediocrity, and suspicion of the centralized state. Their fears are combined with an elevated ideal of human personality, an ideal which affirms modernity. All see their ideals threatened in the immediate future, and all hope to save European civilization from barbarism and militarism through some form of education, although all grow more pessimistic towards the end of their lives. Aristocratic Liberalism ignores the national boundaries that so often confine the history of political thought, and uses the perspective thus gained to establish a pan-European type of political thought. Going beyond Burckhardt, Mill, and Tocqueville, Aristocratic Liberalism argues for new ways of looking at nineteenth-century liberalism. It corrects many prevalent misconceptions about liberalism, and suggests new paths for arriving at a better understanding of the leading form of nineteenth-century political thought. The new Afterword by the author presents a novel description of liberal political language as the "discourse of capacity," and suggests that this kind of language is the common denominator of all forms of European liberalism in the nineteenth century. Aristocratic Liberalism will be valuable to students of history, political science, sociology, and political philosophy.
Thomas's Commentary on the Book of Causes, composed during the first half of 1272, offers an extended view of his approach to Neoplatonic thought and functions as a guide to his metaphysics. Though long neglected and, until now, never translated into English, it deserves an equal place alongside his commentaries on Aristotle and Boethius. In addition to the extensive annotation, bibliography, and thorough introduction, this translation is accompanied by two valuable appendices. The first provides a translation of another version of proposition 29 of the Book of Causes, which was not known to St. Thomas. The second lists citations of the Book of Causes found in the works of St. Thomas and cross-references these to a list showing the works, and the exact location within them, where the citations can be found.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus.
An examination of the female opera singer during the nineteenth and twentieth centuries.
Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Célestine Galli-Marié; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.