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Decadent Orientalisms presents a sustained critique of the ways Orientalism and decadence have formed a joint discursive mode of the imperial imagination. Rather than attending to Orientalism as a repertoire of clichés and stereotypes, Fieni reads both Western and Islamic discourses of decadence to show the diffuse, yet coherent network of institutions that have constituted Orientalism's power.

GEREON MÜLLER, Free Word Order, Morphological Case, and Sympathy Theory.VIERI SAMEK-LODOVICI, Agreement Impoverishment under Subject Inversion.JOCHEN TROMMER, Modularity in OT-Morphosyntax.RALF VOGEL, Free Relative Constructions in OT-Syntax.

This book examines what Amr Kamal calls the phenomenon of emporialism , or the convergence between the spaces and imaginaries of empires and emporia in the context of a modern Mediterranean divided among the British, French, and Ottoman empires. By \"emporia,\" Kamal refers to the commercial network of nineteenth-century department stores, which gained prominence after the Suez Canal project. Taking as a focal point French and Egyptian department stores, the author examines emporialism as a set of phenomenological experiences, discursive and social praxes, and mechanisms of control and resistance, born from the intersection of modernity, colonialism, and mass consumption. Drawing on archival evidence, Kamal reads iconographic and literary representations of emporia in English, French, Arabic, and Hebrew, from the nineteenth century to the present, addressing works by Émile Zola, Huda Shaarawi, Jacqueline Kahanoff, and others. Emporialism, Kamal argues, served to rewrite the history of the Mediterranean, to reinvent national belonging, and to interrogate issues of modernity and social justice.

The Unsignificant: Three Talks on Poetry and Picturesis a selection of lectures that poet and Griffin Awardfinalist Srikanth Reddy presented for the Bagley Wright Lecture Series in 2015.True to its title, The Unsignificant is concerned with what its not aboutnot the logical proofs of philosophy but the affective flux of poetry. The lectures approach poetry from Homer to Gertrude Stein to Ronald Johnson obliquely, refracted through images such as Brueghels Landscape with Fall of Icarus, Hermann Rorschachs inkblots, or Galileos drawings of the moon. Ranging from pictorial backgrounds in visual art to portraiture and similes to the poetics of wonder, The Unsignificant embarks on an unsystematic, errant, and eccentric tour of Western poetry and poetics from the ancient world to our continuous present.

In Uses and Abuses of Moses, Theodore Ziolkowski surveys the major literary treatments of the biblical figure of Moses since the Enlightenment. Beginning with the influential treatments by Schiller and Goethe, for whom Moses was, respectively, a member of a mystery cult and a violent murderer, Ziolkowski examines an impressive array of dramas, poems, operas, novels, and films to show the many ways in which the charismatic figure of Moses has been exploited—the \"uses and abuses\" of the title—to serve a variety of ideological and cultural purposes. Ziolkowski's wide-ranging and in-depth study compares and analyzes the attempts by nearly one hundred writers to fill in the gaps in the biblical account of Moses' life and to explain his motivation as a leader, lawgiver, and prophet. As Ziolkowski richly demonstrates, Moses' image has been affected by historical factors such as the Egyptomania of the 1820s, the revolutionary movements of the mid-nineteenth century, the early move toward black liberation in the United States, and critical biblical scholarship of the late nineteenth century before, in the twentieth century, being appropriated by Marxists, Socialists, Nazis, and Freudians. The majority of the works studied are by Austro-German and Anglo-American writers, but Ziolkowski also includes significant examples of works from Hungary, Sweden, Norway, the Ukraine, Denmark, the Netherlands, Italy, and France. The figure of Moses becomes an animate seismograph, in Ziolkowski's words, through whose literary reception we can trace many of the shifts in the cultural landscape of the past two centuries.

This book seeks to elaborate a theory of 'troping' that expands thepurview of linguistic work and agency, parsing its transformative work beyond the limits usually set by theories of language. It registers a sea-change in the theorization of theatrical art from representation to intervention. The book thereby seeks to lay bare the activity of language as a heterotropology. It focuses on early modern theatre from Shakespeare (Hamlet, Macbeth, Romeo and Juliet, Troilus and Cressida) and other theatrical forms of the same era (the Court Masque, dramas by Ford or Johnson) through to the Restoration; it also reads a number of contemporary avatars of Shakespearean texts from Stoppard to Jones, and of early modern and postmodern performance spaces such as the New Globe Theatre. In a dozen readings of early modern theatre it asks how the remarkable energy and social purchase ascribed to theatrical language by contemporary commentators can be reconceptualized, mobilized anew and thus harnessed for our own turbulent times.

Utilizes Greek tragedy to investigate the fundamentally arbitrary and violent nature of justice.

Bringing John McGahern’s 1965 masterpiece back into print in the United States after years of inaccessibility, this new sixtieth-anniversary critical edition includes an introduction aimed at first-time readers, explanatory footnotes, McGahern’s own glossary, and four scholarly essays aimed at guiding readers through the novel’s famously controversial history. While the text was initially banned in Ireland for obscenity, this edition demonstrates that McGahern’s novel of adolescence is not obscene, but revelatory, exposing the corruption underlying authority structures in mid-century Ireland—from the family to the church, to the government’s willingness to ignore national and communal trauma. The Dark follows a promising young boy’s struggles to break free from the economic and social forces trapping him in a lifestyle that is both familiar and suffocating. At the heart of the novel is the boy’s complex and stormy relationship with his abusive, widowed father, who is left to raise a family with little outside aid. The Dark is a story of alarming brutality, surprising tenderness, and poetic lyricism; a reflection of Irish society that maintains historical significance as contemporary Ireland continues to build its national identity.

In Lu Xun and World Literature, Xiaolu Ma, Carlos Rojas, and other contributors examine various aspects of Lu Xun, who is known as the father of modern Chinese literature. Essays in this book focus on Lu Xun’s works in relation to the notions of world literature and processes of literary worlding. The contributors offer detailed analyses of Lu Xun’s own literary oeuvre and of foreign works that engage with his writings. This volume also focuses on many facets of the publication and dissemination of Lu Xun’s works’, from printing and binding to the discussions and debates that followed their release in China and abroad. This book not only makes an important contribution to the field of Lu Xun studies, but also proposes a reexamination of the category of world literature.