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2021 Outstanding Academic Title, Choice Magazine Turns to the written record to re-examine the building blocks of a nation Picking up where most historians conclude, Chelsea Stieber explores the critical internal challenge to Haiti’s post-independence sovereignty: a civil war between monarchy and republic. What transpired was a war of swords and of pens, waged in newspapers and periodicals, in literature, broadsheets, and fliers. In her analysis of Haitian writing that followed independence, Stieber composes a new literary history of Haiti, that challenges our interpretations of both freedom struggles and the postcolonial. By examining internal dissent during the revolution, Stieber reveals that the very concept of freedom was itself hotly contested in the public sphere, and it was this inherent tension that became the central battleground for the guerre de plume—the paper war—that vied to shape public sentiment and the very idea of Haiti. Stieber’s reading of post-independence Haitian writing reveals key insights into the nature of literature, its relation to freedom and politics, and how fraught and politically loaded the concepts of “literature” and “civilization” really are. The competing ideas of liberté, writing, and civilization at work within postcolonial Haiti have consequences for the way we think about Haiti’s role—as an idea and a discursive interlocutor—in the elaboration of black radicalism and black Atlantic, anticolonial, and decolonial thought. In so doing, Stieber reorders our previously homogeneous view of Haiti, teasing out warring conceptions of the new nation that continued to play out deep into the twentieth century.
Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
This book provides an up to date review of subnational and multicultural issues in Western multinational states.
Recasting French literary history in terms of the cultures and peoples that interacted within and outside of France's national boundaries, this volume offers a new way of looking at the history of a national literature, along with a truly global and contemporary understanding of language, literature, and culture. The relationship between France's national territory and other regions of the world where French is spoken and written (most of them former colonies) has long been central to discussions of "Francophonie." Boldly expanding such discussions to the whole range of French literature, the essays in this volume explore spaces, mobilities, and multiplicities from the Middle Ages to today. They rethink literary history not in terms of national boundaries, as traditional literary histories have done, but in terms of a global paradigm that emphasizes border crossings and encounters with "others." Contributors offer new ways of reading canonical texts and considering other texts that are not part of the traditional canon. By emphasizing diverse conceptions of language, text, space, and nation, these essays establish a model approach that remains sensitive to the specificities of time and place and to the theoretical concerns informing the study of national literatures in the twenty-first century.
In 2009, the International Labour Organization (ILO) celebrated its ninetieth anniversary. The First World War and the revolutionary wave it provoked in Russia and elsewhere were powerful inspirations for the founding of the ILO. There was a growing understanding that social justice, in particular by improving labour conditions, was an essential precondition for universal peace. Since then, the ILO has seen successes and set-backs; it has been ridiculed and praised. Much has been written about the ILO; there are semi-official histories and some critical studies on the organization's history have recently been published. Yet, further source-based critical and comprehensive analyses of the organization's origins and development are still lacking. The present collection of eighteen essays is an attempt to change this unsatisfactory situation by complementing those histories that already exist, exploring new topics, and offering new perspectives. It is guided by the observation that the ILO's history is not primarily about «elaborating beautiful texts and collecting impressive instruments for ratification» but about effecting «real change and more happiness in peoples' lives».
Taking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.
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.
Provides a framework of categories for the construction of notional syllabuses and justification for a notional syllabus. Also explores the role of a notional syllabus in various types of language learning situations.