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This book frames the undeniably copious 21st-century performances of stupidity that occur within social media as echoes of rhetorical experiments conducted by humanist writers of the Renaissance. Any historical overview of humanism will associate it with copia—abundance of expression—and the rhetorical practices essential to managing it. This book argues that stupidity was and is a synonym for copia, making the humanism of which copia is a central element an inherently stupid philosophy. A transhistorical exploration of stupidity demonstrates that not only is excess still the surest way to eloquence, but it is also just the kind of spammy, speculative undertaking to generate a more generous and inventive comprehension of human and nonhuman relationships. In chapters exploring the rhetorics of memes, attack ads, public shaming blogs, clickbait and gifs, Stupid Humanism outlines the possibilities for a humanism less invested in the normative logics that enshrine knowledge, eloquence and linear development as the chief indicators of an active, articulated selfhood and more supportive of a program for queer knowledge, trivial pursuits, anti-social ethics and the curious relationships that form around and in response to abundance of expression.
This handbook offers a new reading of the humanist-scholastic debate over biblical humanism, lending a voice to scholastic critics who have been unfairly neglected in the historical narrative. The investigations cover controversies beginning in quattrocento Italy and spreading north of the Alps in the 16th century.
A new account of Elizabethan diplomacy with an original archival foundation, this book examines the world of letters underlying diplomacy and political administration by exploring a material text never before studied in its own right: the diplomatic letter-book. Author Elizabeth R. Williamson argues that a new focus on the central activity of information gathering allows us to situate diplomacy in its natural context as one of several intertwined areas of crown service, and as one of the several sites of production of political information under Elizabeth I. Close attention to the material features of these letter-books elucidates the environment in which they were produced, copied, and kept, and exposes the shared skills and practices of diplomatic activity, domestic governance, and early modern archiving. This archaeological exploration of epistolary and archival culture establishes a métier of state actor that participates in – even defines – a notably early modern growth in administration and information management. Extending this discussion to our own conditions of access, a new parallel is drawn across two ages of information obsession as Williamson argues that the digital has a natural place in this textual history that we can no longer ignore. This study makes significant contributions to epistolary culture, diplomatic history, and early modern studies more widely, by showing that understanding Elizabethan diplomacy takes us far beyond any single ambassador or agent defined as such: it is a way into an entire administrative landscape and political culture.
Faith and Action is the complete collection of the essays of R. J. Rushdoony written for the Chalcedon Report between 1965 and 2001 along with several transcripts of his recorded talks. The large volume The Roots of Reconstruction only contained his Chalcedon Report essays up until 1985, so most of the essays included in Faith & Action were unavailable to readers for many years until now. In order to make the author’s knowledge more accessible, this three-volume collection features some of the most extensive indexing we’ve ever done including a General Index, a History Index, a Scripture Index, a Works Cited Index, and a Chalcedon Report Directory. A total of 183 pages of indexing! This handsome set of books is a must have for any serious library. The central theme of this collection of essays is Christian Reconstruction, which to Rushdoony meant the responsibility of Christian citizenship in the Kingdom of God. For him, his central drive behind his research and writing was to move men to faith and action. Rushdoony was primarily an essayist who vigorously and prolifically wrote on a multiplicity of subjects, issues, and dis­ciplines. Despite his being critical of both the contemporary church for its compro­mise and the humanistic state for its will to be as God, these essays are replete with Rushdoony’s undying faith in the victory of God in history. Rushdoony’s “big idea” was Christian Reconstruction which centered not on a pursuit of political power but rather an equipping of Christians to take back government by means of self-government in terms of God’s law. This three-volume collection will no doubt serve the larger church for many generations as they seek first the Kingdom of God in their spheres, and in their times.
The Routledge Handbook of Literary Translation provides an accessible, diverse and extensive overview of literary translation today. This next-generation volume brings together principles, case studies, precepts, histories and process knowledge from practitioners in sixteen different countries. Divided into four parts, the book covers many of literary translation’s most pressing concerns today, from teaching, to theorising, to translation techniques, to new tools and resources. Featuring genre studies, in which graphic novels, crime fiction, and ethnopoetry have pride of place alongside classics and sacred texts, The Routledge Handbook of Literary Translation represents a vital resource for students and researchers of both translation studies and comparative literature.
Contributions by Emma Frances Bloomfield, Sheila Bock, Kristen Bradley, Hannah Chapple, James Deutsch, Máirt Hanley, Christine Hoffmann, Kate Parker Horigan, Shelley Ingram, John Laudun, Jordan Lovejoy, Lena Marander-Eklund, Jennifer Morrison, Willow G. Mullins, Anne Pryor, Todd Richardson, and Claire Schmidt The weather governs our lives. It fills gaps in conversations, determines our dress, and influences our architecture. No matter how much our lives may have moved indoors, no matter how much we may rely on technology, we still monitor the weather. Wait Five Minutes: Weatherlore in the Twenty-First Century draws from folkloric, literary, and scientific theory to offer up new ways of thinking about this most ancient of phenomena. Weatherlore is a concept that describes the folk beliefs and traditions about the weather that are passed down casually among groups of people. Weatherlore can be predictive, such as the belief that more black than brown fuzz on a woolly bear caterpillar signals a harsh winter. It can be the familiar commentary that eases daily social interactions, such as asking, “Is it hot (or cold) enough for you?” Other times, it is simply ubiquitous: “If you don’t like the weather, wait five minutes and it will change.” From detailing personal experiences at picnics and suburban lawns to critically analyzing storm stories, novels, and flood legends, contributors offer engaging multidisciplinary perspectives on weatherlore. As we move further into the twenty-first century, an increasing awareness of climate change and its impacts on daily life calls for a folkloristic reckoning with the weather and a rising need to examine vernacular understandings of weather and climate. Weatherlore helps us understand and shape global political conversations about climate change and biopolitics at the same time that it influences individual, group, and regional lives and identities. We use weather, and thus its folklore, to make meaning of ourselves, our groups, and, quite literally, our world.
Combining personal narrative, interviews, and literary analysis, Fool elaborates the potential for fool figures from throughout literary history to reconfigure subject-object relations and point towards new possibilities in creative and critical thought. Drawing on Johanna Skibsrud’s experience in clown classes in France and the US, Fool challenges and extends the correlation Theodor Adorno suggests between thinking and clowning. It considers a diverse range of literary and theoretical sources from Richard Wagner’s Parsifal to Karen Barad’s Meeting the Universe Halfway. The book also refers to a varied cast of literary and historical clowns and fools, including the early Shakespearean actor Richard Tarlton, Alban Berg’s Wozzeck, and Cirque du Soleil’s Shannan Calcutt. Skibsrud elaborates on the role of the ‘fool’ and ‘foolishness’ in literature, not as an element of a particular work’s content, plot, or style but instead as a creative mode of thought activated through the reading and writing of literary texts. This innovative book charts new ground in literature, philosophy, and performance studies, and is an invaluable resource for specialists in all three fields.
Consulting an extensive archive of early modern literature, Joy of the Worm asserts that voluntary death in literature is not always a matter of tragedy. In this study, Drew Daniel identifies a surprisingly common aesthetic attitude that he calls “joy of the worm,” after Cleopatra’s embrace of the deadly asp in Shakespeare’s play—a pattern where voluntary death is imagined as an occasion for humor, mirth, ecstatic pleasure, even joy and celebration. Daniel draws both a historical and a conceptual distinction between “self-killing” and “suicide.” Standard intellectual histories of suicide in the early modern period have understandably emphasized attitudes of abhorrence, scorn, and severity toward voluntary death. Daniel reads an archive of literary scenes and passages, dating from 1534 to 1713, that complicate this picture. In their own distinct responses to the surrounding attitude of censure, writers including Shakespeare, Donne, Milton, and Addison imagine death not as sin or sickness, but instead as a heroic gift, sexual release, elemental return, amorous fusion, or political self-rescue. “Joy of the worm” emerges here as an aesthetic mode that shades into schadenfreude, sadistic cruelty, and deliberate “trolling,” but can also underwrite powerful feelings of belonging, devotion, and love.
The debate on Orientalism began some fifty years ago in the wake of decolonization. While initially considered a turning point, Edward Said’s Orientalism (1978) was in fact part of a larger academic endeavor – the political critique of “colonial science” – that had already significantly impacted the humanities and social sciences. In a recent attempt to broaden the debate, the papers collected in this volume, offered at various seminars and an international symposium held in Paris in 2010-2011, critically examine whether Orientalism, as knowledge and as creative expression, was in fact fundamentally subservient to Western domination. By raising new issues, the papers shift the focus from the center to the peripheries, thus analyzing the impact on local societies of a major intellectual and institutional movement that necessarily changed not only their world, but the ways in which they represented their world. World history, which assumes a plurality of perspectives, leads us to observe that the Saidian critique applies to powers other than Western European ones — three case studies are considered here: the Ottoman, Russian (and Soviet), and Chinese empires. Other essays in this volume proceed to analyze how post-independence states have made use of the tremendous accumulation of knowledge and representations inherited from previous colonial regimes for the sake of national identity, as well as how scholars change and adapt what was once a hegemonic discourse for their own purposes. What emerges is a new landscape in which to situate research on non-Western cultures and societies, and a road-map leading readers beyond the restrictive dichotomy of a confrontation between West and East. With contributions by: Elisabeth Allès; Léon Buskens; Stéphane A. Dudoignon; Baudouin Dupret; Edhem Eldem; Olivier Herrenschmidt; Nicholas S. Hopkins; Robert Irwin; Mouldi Lahmar; Sylvette Larzul; Jean-Gabriel Leturcq; Jessica Marglin; Claire Nicholas; Emmanuelle Perrin; Alain de Pommereau; François Pouillon; Zakaria Rhani; Emmanuel Szurek; Jean-Claude Vatin; Mercedes Volait
Born into poverty, saddled with a born loser and parrot-strangler for a dad, short sighted and ungainly, young Henry Pratt doesn't exactly have a head start in life. But in David Nobbs’s brilliantly funny evocation of a Yorkshire boyhood, unathletic and over-imaginative little Pratt proves he can stick up for himself with the stoic good nature of the great British underdog