"Over his lifetime from 1894 to 1963, Aldous Huxley earned a reputation as one of the giants of modern English prose and of social commentary in our time. Best known for his novels, including Brave New World and Point Counter Point, Huxley was nonetheless very much at home in the essay form. Ranging from journalism to critical reviews to lierary, political, cultural, and philosophical reflections, these essays stand among the finest examples of the genre in modern literature. They also provide absorbing commentary on contmporary currents and events."--Page 2 of cover.
These first two volumes of a projected five, in preparation for several years, begin a major publishing venture, collecting the complete essays of one of the giants of modern English prose and of social commentary in our time. The first two volumes span the most productive period of Huxley's career. Volume I begins with his essays for Gilbert Murray's Athenaeum and his music essays for the New Westminster Gazette. Volume II continues through the 1920s and includes his controversial essays on India and the empire in "Jesting Pilate." The essays of both volumes range from nuanced assessments of art and architecture to political analyses, history, science, religion, and art, and a newly discovered series on music. Wide-ranging, allusive, and witty, they are informed by the probing skepticism of a highly educated and ironically incisive member of the English upper middle class. Huxley's fascination with the codes and conventions of European culture, his growing apprehensions about the menacing collapse of the European political order, and his awareness of the impact of science and technology on the post-Versailles world of England, France, Germany, and the United States form the basis for his critique. His subjects overlap with the satirical novels he wrote during the period between the wars, culminating in Point Counter Point and Brave New World. At their best, these essays stand among the finest examples of the genre in modern literature.
"Over his lifetime from 1894 to 1963, Aldous Huxley earned a reputation as one of the giants of modern English prose and of social commentary in our time. Best known for his novels, including Brave New World and Point Counter Point, Huxley was nonetheless very much at home in the essay form. Ranging from journalism to critical reviews to lierary, political, cultural, and philosophical reflections, these essays stand among the finest examples of the genre in modern literature. They also provide absorbing commentary on contmporary currents and events."--Page 2 of cover.
Presents a further selection of essays, ranging from the politically correct, to the perfectly obscure: from The Prospects of Democracy to Men Versus Insects.
This book pays critical homage to the eminent comparatist of Chinese and Western literature and religion, Anthony C. Yu of The University of Chicago. Broadly comparative, cross-cultural, and interdisciplinary in scope, the volume consists of an introductory essay on Yu's scholarly career, and thirteen additional essays on topics such as literary texts and traditions of varying provenance and periods, ranging from ancient Greece, medieval Europe, and nineteenth- and twentieth-century England and America, to China from the classical to modern periods. The disciplines and areas of research that the essays draw into constructive engagement with one another include comparative literature, religion and literature, history of religions, (or comparative religion), religion and social thought, and the study of myth. Eric Ziolkowski is Professor and Head of the Department of Religious Studies at Lafayette College.
Photographs by a team of photographers who traveled across the United States documenting America's experience of the Great Depression and World War II.
In much of the critical discourse of the seventies, eighties, and nineties, scholars employed suspicion in order to reveal a given text’s complicity with various undesirable ideologies and/or psychopathologies. Construed as such, interpretive practice was often intended to demystify texts and authors by demonstrating in them the presence of false consciousness, bourgeois values, patriarchy, orientalism, heterosexism, imperialist attitudes, and/or various neuroses, complexes, and lacks. While it proved to be of vital importance in literary studies, suspicious hermeneutics often compelled scholars to interpret eudaimonia, or well-being variously conceived, in pathologized terms. At the end of the twentieth century, however, literary scholars began to see the limitations of suspicion, conceived primarily as the discernment of latent realities beneath manifest illusions. In the last decade, often termed the “post-theory era,” there was a radical shift in focus, as scholars began to recognize the inapplicability of suspicion as a critical framework for discussions of eudaimonic experiences, seeking out several alternative forms of critique, most of which can be called, despite their differences, a hermeneutics of affirmation. In such alternative reading strategies scholars were able to explore configurations of eudaimonia, not by dismissing them as bad politics or psychopathology but in complex ways that have resulted in a new eudaimonic turn, a trans-disciplinary phenomenon that has also enriched several other disciplines. The Eudaimonic Turn builds on such work, offering a collection of essays intended to bolster the burgeoning critical framework in the fields of English, Comparative Literature, and Cultural Studies by stimulating discussions of well-being in the “post-theory” moment. The volume consists of several examinations of literary and theoretical configurations of the following determinants of human subjectivity and the role these play in facilitating well-being: values, race, ethics/morality, aesthetics, class, ideology, culture, economics, language, gender, spirituality, sexuality, nature, and the body. Many of the authors compelling refute negativity bias and pathologized interpretations of eudaimonic experiences or conceptual models as they appear in literary texts or critical theories. Some authors examine the eudaimonic outcomes of suffering, marginalization, hybridity, oppression, and/or tragedy, while others analyze the positive effects of positive affect. Still others analyze the aesthetic response and/or the reading process in inquiries into the role of language use and its impact on well-being, or they explore the complexities of strength, resilience, and other positive character traits in the face of struggle, suffering, and “othering.”
Aron Nimzowitsch (1886 – 1935) was the most influential chess thinker of the 20th century. His books ‘My System’ (1925) and ‘Chess Praxis’ (1928) had tremendous impact and continue to be printed, sold and read to this day. Every chess player who is serious about improving his game, studies the lessons of this great Russian-born innovator. During several decades of research German chess historian Rudolf Reinhardt compiled, from an immense variety of sources, all the games Nimzowitsch played after 1928. They are presented with notes by Nimzowitsch himself and, in some cases, by his contemporaries. In addition to the games Reinhardt also collected the articles and essays that Nimzowitsch wrote during the last seven years of his life. Reinhardt’s collection offers a unique view of the chess world of the late 1920s and 1930s, its top tournaments and the state of theory. More importantly, it portrays Nimzowitsch the chess player and author in the last seven years of his short life. It is all there: the fights, the competitors and the polemics, all in the incomparable style of the master: pointed, elegant, precise and highly original. The book starts where Nimzowitsch’s second volume Chess Praxis ends. Richard Reinhardt, who died unexpectedly when writing the preface to his monumental collection, did not exaggerate when he called it the unauthorized sequel to the classics Nimzowitsch himself published during his lifetime. ,
The Green Thread: Dialogues with the Vegetal World is an interdisciplinary collection of essays in the emerging field of Plant Studies. The volume is the first of its kind to bring together a dynamic body of scholarship that shares a critique of long-standing human perceptions of plants as lacking autonomy, agency, consciousness, and, intelligence. The leading metaphor of the book—“the green thread”, echoing poet Dylan Thomas’ phrase “the green fuse”—carries multiple meanings. On a more apparent level, “the green thread” is what weaves together the diverse approaches of this collection: an interest in the vegetal that goes beyond single disciplines and specialist discourses, and one that not only encourages but necessitates interdisciplinary and even interspecies dialogue. On another level, “the green thread” links creative and historical productions to the materiality of the vegetal—a reality reflecting our symbiosis with oxygen-producing beings. In short, The Green Thread refers to the conversations about plants that transcend strict disciplinary boundaries as well as to the possibility of dialogue with plants.
Acclaimed playwright Terrence McNally’s works are characterized by such diversity that critics have sometimes had difficulty identifying the pattern in his carpet. To redress this problem, in Muse of Fire, Raymond-Jean Frontain has collected McNally’s most illuminating meditations on the need of the playwright to first change hearts in order to change minds and thereby foster a more compassionate community. When read together, these various meditations demonstrate the profound ways in which McNally himself functioned as a member of the theater community—as a strikingly original dramatic voice, as a generous collaborator, and even as the author of eloquent memorials. These pieces were originally written to be delivered on both highly formal occasions (academic commencement exercises, award ceremonies, memorial services) and as off-the-cuff comments at highly informal gatherings, like a playwriting workshop at the New School. They reveal a man who saw theater not as the vehicle for abstract ideas or the platform for political statements, but as the exercise of our shared humanity. “Theatre is collaborative, but life is collaborative,” McNally says. “Art is important to remind us that we’re not alone, and this is a wonderful world and we can make it more wonderful by fully embracing each other. [. . .] I don’t know why it’s so hard to remind ourselves sometimes, but thank God we’ve had great artists who don’t let us forget. And thank the audiences who support them because I think that those artists’ true mission has been to bring the barriers down, break them down; not build walls, but tear them down.”
