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The Life and Career of Raúl H. Castro
Raúl H. Castro was the first Hispanic governor of Arizona, ambassador to El Salvador, Bolivia, and Argentina, lawyer, judge, and teacher. His life and career serve as role models, not only to Mexican Americans but to all Americans. Born in Mexico in 1916, in 1926 he moved with his family to Arizona, where his earliest memories include collecting cactus fruit in the desert for food. Thanks to an athletic scholarship, he attended Arizona State Teachers College and later was accepted by the University of Arizona College of Law. He received his Juris Doctor degree and was admitted to the Arizona bar in 1949. President Lyndon Johnson appointed Castro U. S. ambassador to Salvador in 1964 and to Bolivia in 1969. Active in Arizona Democratic Party politics, he was elected governor in 1974 but his term was interrupted by an appointment as ambassador to Argentina. Raul Castro’s story suggests much about the human spirit, the ability to overcome institutional and personal prejudice, and the hope inherent in the American dream.
This is the third volume in the Oratory of Classical Greece series. Planned for publication over several years, the series will present all of the surviving speeches from the late fifth and fourth centuries B.C. in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today’s undergraduates, Greekless scholars in other disciplines, and the general public. Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few. This volume contains the three surviving speeches of Aeschines (390–? B.C.). His speeches all revolve around political developments in Athens during the second half of the fourth century B.C. and reflect the internal political rivalries in an Athens overshadowed by the growing power of Macedonia in the north. The first speech was delivered when Aeschines successfully prosecuted Timarchus, a political opponent, for having allegedly prostituted himself as a young man. The other two speeches were delivered in the context of Aeschines’ long-running political feud with Demosthenes. As a group, the speeches provide important information on Athenian law and politics, the political careers of Aeschines and Demosthenes, sexuality and social history, and the historical rivalry between Athens and Macedonia.
The Tragedy of Immigration
Reassessment of Early Soviet Cultural Theories
This provocative work takes issue with the idea that Socialist Realism was mainly the creation of party leaders and was imposed from above on the literati who lived and worked under the Soviet regime. Evgeny Dobrenko, a leading expert on Soviet literature, argues instead and offers persuasive evidence that the aesthetic theories underpinning Socialist Realism arose among the writers themselves, born of their proponents' desire for power in the realm of literary policymaking. Accordingly, Dobrenko closely considers the evolution of these theories, deciphering the power relations and social conditions that helped to shape them.
From Christian Drama to Christopher Marlowe
In Dr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theater's newfound secularism and his own reputation for anti-Christian irreverence. The Aesthetics of Antichrist explores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponents-paganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowe's work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater.
The Antichrist myth in particular tells of an impostor turned prophet: performing Christ's life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowe's, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason: mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, The Aesthetics of Antichrist proposes a wholesale rereading of pre-Shakespearean drama.
The Vanguard Poetics of Vicente Huidobro and Mário de Andrade
Aesthetics of Equilibrium is the first book-length comparative analysis of the theoretical prose by two major Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). Willis offers a comparative study of two allegorical texts, Huidobro's "Non serviam" and Mario's "Parabola d’A escrava que nao e Isaura."
In The Aesthetics of Service in Early Modern England, Elizabeth Rivlin explores the ways in which servant-master relationships reshaped literature. The early modern servant is enjoined to obey his or her master out of dutiful love, but the servant?s duty actually amounts to standing in for the master, a move that opens the possibility of becoming master. Rivlin shows that service is fundamentally a representational practice, in which the servant who acts for a master merges with the servant who acts as a master.
Rivlin argues that in the early modern period, servants found new positions as subjects and authors found new forms of literature. Represent- ations of servants and masters became a site of contact between pressing material concerns and evolving aesthetic ones. Offering readings of dramas by Shakespeare, Jonson, and Thomas Dekker and prose fictions by Thomas Deloney and Thomas Nashe, Rivlin suggests that these authors discovered their own exciting and unstable projects in the servants they created.
Speaking the Unspeakable
<p class="red">A traditional yet fresh approach to grasping the power of Morrison's writing
With essays by Yvonne Atkinson, Marc C. Conner, Susan Corey, Maria DiBattista, Barbara Johnson, Cheryl Lester, Katherine Stern, and Michael Wood
Nobel laureate Toni Morrison's novels have almost exclusively been examined as sagas illuminating history, race, culture, and gender politics. This gathering of eight essays by top scholars probes Morrison's novels and her growing body of nonfiction and critical work for the complex and potent aesthetic elements that have made her a major American novelist of the twentieth century.
Through traditional aesthetic concepts such as the sublime, the beautiful, and the grotesque, through issues of form, narrative, and language, and through questions of affect and reader response, the nine essays in this volume bring into relief the dynamic and often overlooked range within Morrison's writing. Employing aesthetic ideas that range from the ancient Greeks to contemporary research in the black English oral tradition, The Aesthetics of Toni Morrison shows the potency of these ideas for interpreting Morrison's writing. This is a force Morrison herself has often suggested in her claims that Greek tragedy bears a striking similarity to "Afro-American communal structures."
At the same time each essay attends to the ways in which Morrison also challenges traditional aesthetic concepts, establishing the African American and female voices that are essential to her sensibility. The result is a series of readings that simultaneously expands our understanding of Morrison's work and also provokes new thinking about an aesthetic tradition that is nearly 2,500 years old.
These essays offer a rich complement to the dominant approaches in Morrison scholarship by revealing aspects of her work that purely ideological approaches have obscured or about which they have remained oddly silent. Each essay focuses particularly on the relations between the aesthetic and the ethical in Morrison's writing and between the artistic production and its role in the world at large. These relations show the rich political implications that aesthetic analysis engenders.
By treating both Morrison's fiction and her nonfiction, the essays reveal a mind and imagination that have long been intimately engaged with the questions and traditions of the aesthetic domain. The result is a provocative and original contribution to Morrison scholarship, and to scholarship in American letters generally.
Marc C. Conner is an assistant professor of English at Washington and Lee University. He has published articles in Studies in American Fiction and Critique: Studies in Contemporary Fiction.
Transnational Theater, Literature, and Film in Contemporary Germany
The contemporary moment has been described in terms of both a “narrative” and a “performative turn,” but the overlap between these two has largely escaped attention. This curious gap is explained by the ways in which scholars across the humanities have defined narrative and performance as opposite forces, emphasizing their respective affiliations with time vs. space and identity constitution vs. its undoing. Although the opposition has been acknowledged as false by many in this simple form, its shifting instantiations continue to shape the ways we make sense of the arts as well as society. Instead, An Aesthetics of Narrative Performance: Transnational Theater, Literature, and Film in Contemporary Germany by Claudia Breger maps the complexities of imaginative worldmaking in contemporary culture through an aesthetics of narrative performance: an ensemble of techniques exploring the interplay of rupture and recontextualization in the process of configuration. Interlacing diverging definitions of both narrative and performance, the study outlines two clusters of such techniques—scenic narration and narrative “presencing” in performance vs. forms of narrative theatricalization—and analyzes the cultural work they do in individual works in three different media: literature, film, and theater. These readings focus on the rich configurations of contemporary worldmaking “at location Germany.” In the discussed representations of German unification, contemporary cultures of migration, and the transnational War on Terror, the aesthetics of narrative performance finds its identity as a multifaceted imaginative response to the post/modern crisis of narrative authority.