＜p＞＜strong＞This interdisciplinary volume investigates the cultural and political landscapes of Colombia through citizenship, displacement, local and global cultures, grass-root movements, political activism, human rights, environmentalism, and media productions.＜/strong＞＜/p＞ ＜p＞＜em＞Territories of Conflict＜/em＞ offers a comprehensive view of the cultural and political landscapes of Colombia through in-depth analyses of citizenship, displacement, local and global cultures, grassroots movements, political activism, human rights, environmentalism, and media production. The volume investigates conflict as a creative force but one that is not devoid of its destructive meaning for Colombia. It is precisely through conflict that the nation's social and cultural fabric is being mapped out, thus resulting in territories -- understood in both a literal and a metaphorical sense -- that paradoxically coexist in discordance. Contributors to this interdisciplinary volumeinclude historians, sociologists, political scientists, musicologists, and environmentalists, as well as literary, media, and cultural studies specialists from the United States, Colombia, and Europe.＜/p＞ ＜p＞CONTRIBUTORS: Maurizio Al?, Ingrid Johanna Bol?var Ram?rez, Margarita Cu?llar Barona, Andrea Fanta Castro, H?ctor Fern?ndez L'Hoeste, Joaqu?n Llorca Franco, David Fernando Garc?a, Felipe G?mez Guti?rrez, ?lvaro Diego Hro-Olaizola, Stacey Hunt, Camilo Alberto Jim?nez Alfonso, Gregory J. Lobo, Tatjana Louis, Felipe Mart?nez-Pinz?n, Mar?a Ospina, Kate Paarlberg-Kvam, Diana Pardo Pedraza, Aldona Bialowas Pobutsky, Chloe Rutter-Jensen, Claudia Salamanca S?nchez, Sven Schuster, Silvia Serrano,＜/p＞ ＜p＞Andrea Fanta Castro is Assistant Professor of Spanish at Florida International University; Alejandro Herrero-OIaizola is the Arthur F. Thurnau Professor of Spanish & Latin American Studies at the University of Michigan; and Chloe Rutter-Jensen is Associate Professor of Cultural Studies at the Universidad de los Andes, Bogot?, Colombia.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Gender and the contemporary audio-visual landscape of Mexico＜/strong＞＜/p＞ ＜p＞This book focusses on gender and the audio-visual landscape of Mexico since 2010, examining popular culture as expressed in the still distinct but rapidly converging media forms of cinema, television, and streaming platforms. It tracks how changes in producers and genres coincide with changes in gender representations and engages with depictions of feminism, women's sexuality, masculinity, and teen homosexuality. It aims to move beyond the art, auteur or specialist film that is vaunted by film festivals but little seen by Mexicans at home, focussing instead on a wider world of media content and practices available in Mexico itself. Close attention is also paid to the social media footprint of the productions studied and the way it is used for promotion and engagement with the target audience. The book proposes a new approach to audio-visual studies, combining textual analysis with field surveys and the useof industrial sources perhaps unfamiliar to scholars in Anglo-American Hispanism and Latin American media studies in the UK and USA.＜/p＞ ＜p＞PAUL JULIAN SMITH is Distinguished Professor in the Latin American, Iberian, and Latino Cultures Program at the Graduate Center of the City University of New York.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Innovative study that sees much of twentieth-century American poetry as enacting, in language, pragmatic philosophy.＜/strong＞＜/p＞ ＜p＞Wittgenstein wrote that "philosophy ought really to be written only as a form of poetry." American poetry has long engaged questions about subject and object, self and environment, reality and imagination, real and ideal that have dominated the Western philosophical tradition since the Enlightenment. Kristen Case's book argues that American poets from Emerson to Susan Howe have responded to the central problems of Western philosophy by performing, in language, the continually shifting relation between mind and world. Pragmatism, recognizing the futility of philosophy's attempt to fix the mind/world relation, announces the insights that these poets enact.＜br /＞ Pursuing the flightsof pragmatist thinking into poetry and poetics, Case traces an epistemology that emerges from American writing, including that of Emerson, Marianne Moore, William James, and Charles Olson. Here mind and world are understood as inseparable, and the human being is regarded as, in Thoreau's terms, "part and parcel of Nature." Case presents a new picture of twentieth-century American poetry that disrupts our sense of the schools and lineages of modern and postmodern poetics, arguing that literary history is most accurately figured as a living field rather than a line. This book will be of particular interest to scholars and students of pragmatism, transcendentalism, and twentieth-century American poetry.＜/p＞ ＜p＞Kristen Case is Assistant Professor of English at the University of Maine at Farmington.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A bold application of the concept of "canonical" works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.＜/strong＞＜/p＞ ＜p＞This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered "canonic": that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances.＜/p＞ ＜p＞The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccol? Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an "incipient canon" for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Op?ra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's.＜/p＞ ＜p＞Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞In 1683 English court musicians and the Musical Society of London joined forces to celebrate St Cecilia's Day (22 November) with a feast and the performance of specially composed music. The most prominent composers and poets of the age wrote for these occasions, including Henry Purcell, John Blow, John Dryden and William Congreve.＜/strong＞＜/p＞ ＜p＞In 1683 English court musicians and the Musical Society of London joined forces to initiate annual observations of St Cecilia's Day (22 November), celebrating the occasion with a feast and the performance of specially composed musical odes. The most prominent composers and poets of the age wrote for these occasions, including Henry Purcell, John Blow, John Dryden and William Congreve, and the best musicians of the city, primarily drawn from the court music, undertook the performances. After a decade of celebrations, a church service was added before the feast, and elaborate vocal and instrumental music was performed. At the same time, celebrations of St Cecilia's Day began to spread widely throughout the British Isles, where they were held by local music clubs, often with the support of cathedral musicians. Though the annual London celebrations came to an end after 1700 in the face of increasing competitionfrom the city's busy musical and theatrical offerings, Cecilian poetry continued to inspire new musical settings in the eighteenth century, including works by Pepusch, Greene, Boyce and, most notably, Handel.＜br /＞ This book examines the social, cultural and religious significance of celebrations of St Cecilia's Day in the British Isles and explores the music and poetry that originated from them. The annual feasts of the Musical Society are analysed in detail, as is the role they played in the development of the ode. The book also considers how advances in musical culture in London were imitated in the provinces and provides a detailed discussion of the variety of Cecilian celebrations held at provincial centres throughout the British Isles.＜br /＞ BRYAN WHITE is Senior Lecturer in Music at the University of Leeds.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞First exploration of Jarman's engagement with the medieval, revealing its importance to his work.＜/strong＞＜/p＞ ＜p＞FINALIST IN THE HISTORIANS OF BRITISH ART BOOK AWARDS 2020＜/p＞ ＜p＞The artist and filmmaker Derek Jarman (1942-1994) had a lifelong appreciation of medieval culture. But with the possible exception of ＜em＞Edward II＜/em＞, Jarman's films have not been identified to date as making a major contribution to the depiction of the Middle Ages in cinema.＜br /＞ This book is the first to uncover a rich seam of medievalism in Jarman's art. Taking in major features such as ＜em＞Caravaggio, The Garden＜/em＞ and ＜em＞The Last of England＜/em＞, as well as some of the unrealised screenplays and short experimental films, the book proposes an expanded definition of medieval film that includes not just worksset in or about the Middle Ages, but also projects inspired more broadly by the period. It considers Jarman's engagement with Anglo-Saxon poetry (notably ＜em＞The Wanderer＜/em＞); with works by fourteenth-century poets such as Chaucer, Dante and Langland; with saints and mystics from Joan of Arc to Julian of Norwich; and with numerous paintings, buildings and objects from this so-called "middle" time.＜br /＞ Organised around several key themes - periodisation,anachronism, ruins and wandering - the book also asks what happens when (with Jarman, but also more broadly) we think the categories "medieval" and "modern" together. As such, it will be of interest to film scholars, art historians and medievalists of all stripes who wish to rattle the temporal cages of their fields.＜/p＞ ＜p＞ROBERT MILLS is Professor of Medieval Studies at University College London.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞ALT 36 turns a "queer eye" on Africa, offering provocative (re-)readings of texts to position formerly erased sexualities and contemporary sexual expression among Africans on the continent, and abroad.＜/strong＞＜/p＞ ＜p＞Debates on the future of the African continent and the role of gender identities in these visions are increasingly present in literary criticism forums as African writers become bolder in exploring the challenges they face and celebrating gender diversity in the writing of short stories, novels, poetry, plays and films. Controversies over the rights of Lesbian, Gay, Bisexual, Trans, Intersex, Queer (LGBTIQ) communities in Africa, as elsewhere, continue inthe context of criminalization and/or intimidation of these groups. Residual colonial moralizing and contemporary western identity norms and politics vie with longstanding polyvalent indigenous sexual expression. In addition to traditional media, the new social media have gained importance, both as sources of information exchange and as sites of virtual construction of gender identities. As with many such contentious issues, the variety of responses to the"state of the question" is strikingly visible across the continent. In this issue of ALT, guest editor John Hawley has sampled the ongoing conversations, in both African writing and in the analysis of contemporary African cinema,to show how queer studies can break with old concepts and theories and point the way to new gender perspectives on literary and cinematic output.＜/p＞ ＜p＞This volume also includes a non-themed section of Featured Articles anda Literary Supplement.＜/p＞ ＜p＞Guest Editor: John C. Hawley is Professor in the Department of English, Santa Clara University＜br /＞ Series Editor: Ernest N. Emenyonu is Professor of Africana Studies at the University of Michigan-Flint, USA.＜br /＞ Reviews Editor: Obi Nwakanma＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Reveals how Aaron Copland's complex relationship with the music of Gustav Mahler shaped his vision for American music in the twentieth century.＜/strong＞＜/p＞ ＜p＞The iconic American composer Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, a style free from the powerful sway of the European classics that long dominated the art-music scene inthe United States. Yet Copland was strongly attracted to the music of the late-romantic Austrian composer Gustav Mahler (1860-1911), whose monumental symphonies and powerful songs have captivated and challenged American audiencesfor more than a century.＜/p＞ ＜p＞Drawing extensively on archival and musical materials, ＜em＞Aaron Copland and the American Legacy of Gustav Mahler＜/em＞ offers the first detailed exploration of Copland's multifaceted relationshipwith Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music, as Mugmon compellingly illustrates, intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein.＜/p＞ ＜p＞MATTHEW MUGMON is Assistant Professor of Music at the University of Arizona.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Illuminates unexplored dimensions of the music-literature relationship and the sometimes unrecognized talents of certain famous writers and composers.＜/strong＞＜/p＞ ＜p＞This book deals with three aspects that have been neglected in the burgeoning field of music and literature. The "First Movement" of the book considers writers from German Romanticism to the present who, like Robert Schumann, first saw themselves as writers before they turned to composition, or, like E. T. A. Hoffmann and Anthony Burgess, sought careers in music before becoming writers. It also considers the few operatic composers, such as Richard Wagner and Arnold Schoenberg, who wrote their own libretti. The "Second Movement" turns to literary works based specifically on musical compositions. This group includes, first and more generally, prose works whose author chose a specificmusical form such as sonata or fugue as an organizational model. And second, it includes novels based structurally or thematically on specific compositions, such as Bach's ＜em＞Goldberg Variations.＜/em＞ The "Finale" concludes with aunique case: efforts by modern composers to render musically the compositions described in detail by Thomas Mann in his novel ＜em＞Doktor Faustus.＜/em＞ This book, which addresses itself to readers interested generally in music and literature and is written in a reader-friendly style, draws attention to unexplored dimensions of the music-literature relationship and to the sometimes unrecognized talents of certain writers and composers.＜/p＞ ＜p＞Theodore Ziolkowski is Professor Emeritus of German and Comparative Literature, Princeton University.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Using a virtuosic variety of forms, from haiku to the titular fairy tale, on a broad range of topics, from the taste of different kinds of tea to a eulogy for a friend, Seth Steinzor explores what it is to live intensely in acknowledgment of death's constant presence.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Tracks the genesis and evolution of Twain's reputation as a writer, revealing how and why the writer has been "under fire" since the advent of his career.＜/strong＞＜/p＞ ＜p＞Threatened by a rival editor brandishing a double-barreled shotgun, young Samuel Clemens had his first taste of literary criticism. Clemens began his long writing career penning satirical articles for his brother's newspaper in Hannibal, Missouri. His humor delighted everyone except his targets, and it would not be the last time his writing provoked threats of "dissection, tomahawking, libel, and getting his head shot off." Clemens adopted the name Mark Twain while living in the Nevada Territory, where his caustic comedy led to angry confrontations, a challenge to a duel, and a subsequent flight. Nursing his wounded ego in California, Twain vowed to develop a reputation that would"stand fire" and in the process became ＜em＞the＜/em＞ classic American writer.＜br /＞ ＜em＞Mark Twain under Fire＜/em＞ tracks the genesis and evolution of Twain's reputation as a writer: his reception as a humorist, his "return fire" on genteel critics, and the development of academic criticism. As a history of Twain criticism, the book draws on English and foreign-language scholarship. Fulton discusses the forces and ideas that have influenced criticism, revealinghow and why Mark Twain has been "under fire" from the advent of his career to the present day, when his masterpiece ＜em＞Huckleberry Finn＜/em＞ remains one of America's most frequently banned books.＜/p＞ ＜p＞Joe B. Fulton is Professor of English at Baylor University in Waco, Texas. He has published four previous books on Mark Twain.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Explores Haneke's historically complex film as a reflection on purity, ideology, violence, and child-rearing.＜/strong＞＜/p＞ ＜p＞White ribbons and black pedagogy - Michael Haneke's award-winning film ＜em＞The White Ribbon＜/em＞ (2009) is a multilayered reflection on purity, ideology, violence, and child rearing. In this tense black-and-white whodunit, mysterious events occur in a small town on the German-Polish border in 1913-14. A tripwire fells the doctor's horse; a farmhand's wife falls through the floor of a shed; a barn goes up in flames; the baron's son is terribly beaten; a girlstakes claims to clairvoyance; a mentally disabled boy is tortured and maimed. While the film unfolds on the eve of the First World War, the violence evokes other historical moments: the breakup of the multiethnic Austro-HungarianEmpire, the rise of National Socialism, the emergence of 1960s German terrorism, and religious fundamentalism post 9/11.＜br /＞ Fatima Naqvi's book looks at Haneke's technique of combining various histories in the digital era. It also reflects on the guise of literariness and historical authenticity in which the director clothes this fictional film. It meditates on the film's inscription techniques and its ability to appeal to international audiences. Naqvishows that ＜em＞The White Ribbon＜/em＞ bespeaks a certain historical "translatability" into historical and aesthetic contexts outside of Germany-in marked contrast to the historical specificity it conveys on a surface level.＜/p＞ ＜p＞Fatima Naqvi is Professor in the Department of Germanic Languages and Literatures and an Affiliate of the Film and Media Studies Program at Yale University.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A new translation of Rilke's groundbreaking volume, following the formal properties of the original poems, especially meter and rhyme, as closely as English allows.＜/strong＞＜/p＞ ＜p＞Rainer Maria Rilke, the most famous (and important) German language poet of the twentieth century - a master to be ranked with Goethe and Heine - wrote the ＜em＞New Poems＜/em＞ of 1907 and 1908 in transition from his late-nineteenth-century style. They mark his appearance as a lyrical, metaphysical poet of the modernist sensibility, often using traditional forms like the sonnet to explore the inner essence, the deep heart, of things - often, quite literally, things. Influenced by his time spent as Rodin's secretary, Rilke turned to quotidian life and sought to artistically redeem it in all its possibilities. His exquisite use of meter and rhyme marks him as a "formalist" and yet a contemporary of Eliot and the later Yeats, so this translation follows, as closely as English allows, the formal properties of the original poems, in a line-for-line version, while trying to capture the spare diction and direct idiomsof modernism.＜/p＞ ＜p＞Len Krisak is a recipient of the Richard Wilbur, Robert Penn Warren, and Robert Frost prizes in poetry. He has published more than five hundred poems, including translations from the Latin, Greek, Spanish, Italian, Russian, and German.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Offers not only an analytical study of the films of Herzog, perhaps the most famous living German filmmaker, but also a new reading of Romanticism's impact beyond the nineteenth century and in the present.＜/strong＞＜/p＞ ＜p＞Werner Herzog (b. 1942) is perhaps the most famous living German filmmaker, but his films have never been read in the context of German cultural history. And while there is a surfeit of film reviews, interviews, and scholarly articles on Herzog and his work, there are very few books devoted to his films, and none addressing his entire career to date. Until now.＜br /＞ ＜em＞Forgotten Dreams＜/em＞ offers not only an analytical study of Herzog's films but also a new reading of Romanticism's impact beyond the nineteenth century. It argues that his films re-envision and help us better understand a critical stream in Romanticism, and places the films in conversation with other filmmakers, authors, and philosophers in order to illuminate that critical stream. The result is a lively reconnection with Romantic themes and convictions that have been partly forgotten in the midst of Germany's postwar rejection of much of Romantic thought, yet are still operative in German culture today. The film analyses will interest scholars of film, German Studies, and Romanticism as well as a broader public interested in Herzog's films and contemporary German cultural debates. The book will also appeal to those interested in the ongoing renegotiation - by Western and other cultures - of relationships between reason and passion, civilization and wild nature, knowledge and belief.＜/p＞ ＜p＞Laurie Ruth Johnson is Professor of German, Comparative and World Literature, and Criticism and Interpretive Theory at the University of Illinois at Urbana-Champaign.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Concentrating on the role of the imagination in Updike's works, this book shows him to be an original and powerful thinker and not the callow sensationalist that he is sometimes accused of being.＜/strong＞＜/p＞ ＜p＞This book looks past the frequently discussed autobiographical nature of John Updike's fiction to consider the role in Updike's work of the most powerful and peculiar human faculty: the imagination. Michial Farmer argues that, while the imagination is for Updike a means of human survival and a necessary component of human flourishing, it also has a destructive, darker side, in which it shades into something like philosophical idealism. Here the mind constructs the world around it and then, unhelpfully, imposes this created world between itself and the "real world." In other words, Updike is not himself an idealist but sees idealism as a persistent temptation for the artistic imagination. Farmer builds his argument on the metaphysics of Jean-Paul Sartre, an existentialist thinker who has been largely neglected in discussions of Updike's aesthetics. The book demonstrates the degree to which Updike was an original and powerful thinker and not the callow sensationalist that he is sometimes accused of being.＜/p＞ ＜p＞Michial Farmer is Assistant Professor of English at Crown College, Saint Bonifacius, Minnesota.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The first study to bring Hemingway, Vonnegut, O'Brien, and 9/11 literature together in order to examine views about war, gender, and domesticity over a hundred-year period.＜/strong＞＜/p＞ ＜p＞War has often been seen as the domain of men and thus irrelevant to gender analysis, and American writers have frequently examined war according to traditional gender expectations: that boys become men by going to war and girls become women by building a home. Yet the writers discussed in this book complicate these expectations, since their female characters often take part directly in war and especially since their male characters repeatedly imagine domestic spaces for themselves in the midst of war. Chapters on Hemingway and the First World War, Kurt Vonnegut and the Second World War, and Tim O'Brien and the Vietnam War place these writers in their particular historical and cultural contexts while tracing similarities in their depiction of gender relationships, imagined domestic spaces, and the representability of trauma. The book concludes by examining post-9/11 American literature, probing what happenswhen the front lines actually come home to Americans. While much has been written about Hemingway, Vonnegut, O'Brien, and even 9/11 literature separately, this study is the first to bring them together in order to examine views about war, gender, and domesticity over a hundred-year period. It argues that 9/11 literature follows a long tradition of American writing about war in which the domestic and public realms are inextricably intertwined and in which imagined domestic spaces can provide a window into representing wartime trauma, an experience often thought to be unrepresentable or incomprehensible to those who were not actually there.＜/p＞ ＜p＞Susan Farrell is Professor of English at the College of Charleston.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞International, multi-disciplinary perspectives on the key question of community engagement in theory and practice in a diverse range of heritage settings.＜/strong＞＜/p＞ ＜p＞Across the global networks of heritage sites, museums, and galleries, the importance of communities to the interpretation and conservation of heritage is increasingly being recognised. Yet the very term "meaningful community engagement" betrays a myriad of contrary approaches and understandings. Who is a community? How can they engage with heritage and why would they want to? How do communities and heritage professionals perceive one another? What does itmean to "engage"? These questions unsettle the very foundations of community engagement and indicate a need to unpick this important but complex trend.＜br /＞ ＜em＞Engaging Heritage, Engaging Communities＜/em＞ critically explores the latest debates and practices surrounding community collaboration. By examining the different ways in which communities participate in heritage projects, the book questions the benefits, costs and limitations of community engagement. Whether communities are engaging through innovative initiatives or in response to economic, political or social factors, there is a need to understand how such engagements are conceptualised, facilitated and experienced by boththe organisations and the communities involved.＜/p＞ ＜p＞Bryony Onciul is Lecturer in History at the University of Exeter; Michelle Stefano is the Co-Director of Maryland Traditions, the folklife program for the state of Maryland and Visiting Assistant Professor in American Studies at the University of Maryland, Baltimore County; Stephanie Hawke is a project manager and fundraiser, working on a range of projects aiming to engage communities with culturalheritage.＜/p＞ ＜p＞Contributors: Gregory Ashworth, Evita Busa, Helen Graham, Julian Hartley, Stephanie Hawke, Carl Hogsden, Shatha Abu Khafajah, Nicole King, Bernadette Lynch, Billie Lythberg, Conal McCarthy, Ashley Minner, Wayne Ngata, Bryony Onciul, Elizabeth Pishief, Gregory Ramshaw, Philipp Schorch, Justin Sikora, Michelle Stefano, Helen Tully, John Tunbridge.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A beautifully illustrated guide to the medieval church towers of the Northern Province of England.＜/strong＞＜/p＞ ＜p＞Church towers are a prominent feature of the English landscape and stand as a testament to the skill and ingenuity of medieval masons. The Northern Province, namely the ecclesiastical province of York, contains a rich and varied array of these remarkable constructions. This vast area of England, comprising of the twelve dioceses of Blackburn, Carlisle, Chester, Durham, Leeds, Liverpool, Manchester, Newcastle, Sheffield, Southwell & Nottingham and York, contains no less than 500 medieval examples.＜br /＞ Every medieval church tower within the Northern Province is beautifully illustrated here by a watercolour painting and is accompanied by detailed information relating to its locationand date and an architectural description. Provided with an index and a glossary of terms, this book can be used both as a visitor's guide and as a reference work for the study of medieval church architecture. Includes 500 colourillustrations.＜/p＞ ＜p＞DAVID RYAN is a retired architect and a former member of the Royal Institute of British Architects.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The first critical study of the life and distinctive artistic vision of Heinrich Neuhaus, a legendary pianist-pedagogue widely considered one of the leading shapers of the renowned Russian piano tradition.＜/strong＞＜/p＞ ＜p＞Heinrich Neuhaus (1888-1964) was one of the most charismatic and sought after pianist-pedagogues of the twentieth century, earning a formidable reputation in the West as one of the pillars of Russian pianism through the success ofhis star pupils Emil Gilels and Sviatoslav Richter, and his book ＜em＞About the Art of Piano Playing.＜/em＞＜/p＞ ＜p＞Maria Razumovskaya's ＜em＞Heinrich Neuhaus: A Life beyond Music＜/em＞ is the first critical study of this masterful artist. It explores what went on in his teaching studio but also seeks to understand the vibrant circumstances that underpinned Neuhaus's unique outlook and approach. These circumstances include his formative years of study in Europealongside Karol Szymanowski (his cousin) and the renowned pianist Artur Rubinstein, the turbulence of life during the Russian Civil War, Neuhaus's meteoric rise to fame in Moscow, and his lifelong friendship with the poet Boris Pasternak.＜/p＞ ＜p＞Razumovskaya's book draws on previously unseen documents relating to Neuhaus's arrest and imprisonment in the infamous Lubyanka for criticizing the Soviet regime. By revealing how these influences helped form Neuhaus's distinct vision of a performer's subjectivity -- what he called an artist's "autopsychography" -- the book emphasizes important aesthetic principles and practices that were adopted by creative artists eager to escape the banality and limitations imposed by Socialist Realism.＜/p＞ ＜p＞MARIA RAZUMOVSKAYA, a recital pianist and researcher, teaches at the Guildhall School of Music and Drama.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Annotated, scholarly edition of the original landmark anthology, ＜em＞Voices of Ghana＜/em＞, containing poetry, plays, stories and essays first broadcast on radio in the years leading up to Ghana's independence.＜/strong＞＜/p＞ ＜p＞Ghana's first radio programme of original literature, ＜em＞The Singing Net＜/em＞, began in 1955 as part of the development of a national radio station in the years leading to independence in 1957. Its central aim was to bring Ghanaianwriters to the forefront of cultural programming as part of the Africanisation of radio in Ghana. It was a critical cultural expression of the radical changes that were unfolding across the colonial world. The programme successfully introduced listeners to a series of pioneering Ghanaian authors who would go on to become significant figures of Anglophone West African literature in the early postcolonial decades: Efua Sutherland, Frank Parkes, Amu Djoleto,Geormbeeyi Adali-Mortty, Albert Kayper-Mensah, Kwesi Brew, Cameron Duodu, J.H. Nketia and many others. The anthology, ＜em＞Voices of Ghana＜/em＞ (1958) is a collection of the poetry, short stories, play scripts and critical discussions that were aired on the Gold Coast Broadcasting Service (later the Ghana Broadcasting System) (1954-1958). Both ＜em＞The Singing Net＜/em＞ and ＜em＞Voices of Ghana＜/em＞ were edited by the BBC producer, Henry Swanzy.＜br /＞ The context of Ghana's independence, the singularity of the anthology's history, and the significance of many of the writers all contribute to the importance of this text. This second edition is a timely intervention into recent debateswithin postcolonial studies and world literature on the importance of broadcast culture in the dissemination of "new literatures" from the colonial world. It includes an unabridged version of the 1958 text, a new introduction andfootnoted annotations, which draw on extensive research undertaken in Ghana and Britain. It will appeal to a general readership with an interest in Ghanaian literature, 1950s broadcast culture, the figure of Dr Kwame Nkrumah and the making of a national literature in the era of decolonisation, as well as engaging scholars. The new edition presents a deeply insightful and engaging history of ＜em＞Voices of Ghana＜/em＞ and reintroduces the original works on theoccasion of the anthology's 60th anniversary.＜/p＞ ＜p＞Victoria Ellen Smith is a Lecturer in the Department of History, University of Ghana, Legon＜/p＞ ＜p＞Ghana & Nigeria: Sub-Saharan Publishers＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞＜em＞The Other Classical Musics＜/em＞ offers challenging new perspectives on classical music by presenting the history of fifteen parallel traditions.＜/strong＞＜/p＞ ＜p＞Winner of the Royal Philharmonic Society Music Award for Creative Communication 2015＜/p＞ ＜p＞There is a treasure trove of underappreciated music out there; this book will convince many to explore it. The Economist＜/p＞ ＜p＞Whatis classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Each music is analysed in terms of itsmodes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. The writers are leading ethnomusicologists, and their approach is based on the belief that music is best understood in the context of the culture which gave rise to it.＜/p＞ ＜p＞By including Mande and Uzbek-Tajik music - plus North American jazz - in addition to the better-knownstyles of the Middle East, the Indian sub-continent, the Far East, and South-East Asia, this book offers challenging new perspectives on the word 'classical'. It shows the extent to which most classical traditions are underpinnedby improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective'exotic'.＜/p＞ ＜p＞MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of ＜em＞The Independent＜/em＞. From 1992 to 2005 he reported on traditional musics all over the world for the BBC World Service; in 2004, Topic Records released a CD of his Kazakh field recordings and, in 2007, two further CDs of his recordings in Georgia and Chechnya.＜/p＞ ＜p＞Contributors: Michael Church, Scott DeVeaux, Ivan Hewett, David W. Hughes, Jonathan Katz, Roderic Knight, Frank Kouwenhoven, Robert Labaree, Scott Marcus, Terry E. Miller, Dwight F. Reynolds, Neil Sorrell, Will Sumits, Richard Widdess, Ameneh Youssefzadeh＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A timely analysis that provides a pre-history to current debates on decolonisation, the politics of the moving image, and artistic engagements with anti-colonial archives.＜/strong＞＜/p＞ ＜p＞In one of the first cultural acts to follow independence in 1975, Frelimo's new socialist government of Mozambique set up a National Institute of Cinema (the INC). In a country where many people had little previous experience of cinema, the INC was tasked to "deliver to the people an image of the people". This book explores how this unique culture of revolutionary filmmaking began during the armed struggle against Portuguese colonialism. Following independence, the INC began the task of decolonising the film industry, building on networks of solidarity with other socialist and non-aligned struggles. Mozambique became an epicentre for militant filmmakers from around the world and cinema played an essential role in building the new nation. Crucially, the book examines how filmmaking became a resource for resistance against Apartheid as the Cold War played out across Southern Africa during the late 1970s and 1980s. Drawing on detailed film analysis, production histories and testimonies of key participants, ＜em＞Cinemas of the Mozambican Revolution＜/em＞ provides a compelling account of this radical experiment in harnessing cinema to socialchange.＜/p＞ ＜p＞ROS GRAY is Senior Lecturer in Fine Art (Critical Studies) in the Department of Art, Goldsmiths, University of London＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How do contemporary audiences engage with sacred music and what are its effects?＜/strong＞＜/p＞ ＜p＞This book explores examples of how the Christian story is still expressed in music and how it is received by those who experience that art form, whether in church or not. Through conversations with a variety of writers, artists, scientists, historians, atheists, church laity and clergy, the term post-secular emerges as an accurate description of the relationship between faith, religion, spirituality, agnosticism and atheism in the west today. In this context, faith does not just mean belief; as the book demonstrates, the temporal, linear, relational and communal process of experiencing faith is closely related to music.＜br /＞ ＜em＞Music and Faith＜/em＞ is centred on those who, by-and-large, are not professional musicians, philosophers or theologians, but who find that music and faith are bound up with each other and with their own lives. Very often, as the conversations reveal, the results of this 'binding' are transformative, whether it be in outpourings of artistic expression of another kind, or greater involvement with issues of social justice, or becoming ordained to serve within the Church. Even those who do not have a Christianfaith find that sacred music has a transformative effect on the mind and the body and even, to use a word deliberately employed by Richard Dawkins, the 'soul'.＜/p＞ ＜p＞JONATHAN ARNOLD is Dean of Divinity and Fellow of MagdalenCollege, Oxford. Before being ordained, he was a professional singer and made numerous recordings with ＜em＞The Sixteen＜/em＞, ＜em＞Polyphony＜/em＞, the ＜em＞Gabrielli Consort＜/em＞ and ＜em＞The Tallis Scholars＜/em＞, among others. He has previously published ＜em＞Sacred Music in Secular Society＜/em＞ (2014), ＜em＞The Great Humanists: An Introduction＜/em＞ (2011) and ＜em＞John Colet of St. Paul's: Humanism and Reform in Pre-Reformation England＜/em＞ (2007).＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Case-studies of whether and how heritage can be used to bring about reconciliation.＜/strong＞＜/p＞ ＜p＞This volume explores one of the most critical issues of our time: whether heritage can contribute to a more peaceful society and future. It reflects a core belief that heritage can provide solutions to reconciling peoples and demonstrates the amount of significant work being carried out internationally. Based round the core themes of new and emerging ideas around heritage and peace, heritage and peace-building in practice, and heritage, peace-building andsites, the twenty contributions seek to raise perceptions and understanding of heritage-based peace-building practices. Responding to the emphasis placed on conflict, war and memorialization, they reflect exploratory yet significant steps towards reclaiming the history, theory, and practice of peacebuilding as serious issues for heritage in contemporary society. The geographical scope of the book includes contributions from Europe, notably the Balkans andNorthern Ireland, the Middle East, and Kenya.＜/p＞ ＜p＞Diana Walters is an International Heritage Consultant and Honorary Senior Research Fellow at the University of Exeter; Daniel Laven is Associate Professor of Human Geography, Department of Tourism Studies and Geography/European Tourism Research Institute (ETOUR), Mid Sweden University; Peter Davis is Emeritus Professor of Museology, Newcastle University. Contributors: Tatjana Cvjeticanin, PeterDavis, Jonathan Eaton, David Fleming, Seth Frankel, Timothy Gachanga, Alon Gelbman, Felicity Gibling, Will Glendinning, Elaine Heumann Gurian, Lejla Hadzic, Feras Hammami, Lotte Hughes, Bosse Lagerqvist, Daniel Laven, Bernadette Lynch, Elena Monicelli, Yongtanit Pimonsathean, Saleem H. Ali, Sultan Somjee, Peter Stone, Mich?le Taylor, Peter van den Dungen, Alda Vezic, Jasper Visser, Diana Walters.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The works of Leos Jan?cek, including ＜em＞Jenufa＜/em＞ and several of his other operas, have been widely performed in recent years. But they have rarely been investigated closely from a theoretical perspective, and their musical language remains only partially understood. Zdenek Skoumal here offers a chronological exploration of Jan?cek's compositions that focuses on musical structure, identifying elements and processes that give the music coherence, character, and interest.＜/p＞ ＜p＞Skoumal demonstrates how the music combines and blends traditional tonal elements, folk-influenced features, and techniques that were forward-looking at the time. In particular, the music is shown to employ highly sophisticated and continually transforming motivic and rhythmic components.＜/p＞ ＜p＞The book's numerous musical analyses are motivically centered and employ various analytical approaches, including ones that involve reduction, structural levels, basic set theory, and rhythmic theory. Discussions of Jan?cek's works with a libretto or other type of text consider relationships between word and music, revealing their connection to deeper structural issues. The companion website zdenekskoumal.wixsite.com/janacek features audio versions of most musical examples, as well as material not included in the book.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Details Lawrence's reception of Melville and reveals his underacknowledged role in the Melville Revival, while contributing to the history of the book and the study of the creative process.＜/strong＞＜/p＞ ＜p＞＜em＞How Lawrence Read Melville＜/em＞ is a highly focused account of D. H. Lawrence's discovery and reception of Herman Melville, from when he first read ＜em＞Moby-Dick＜/em＞ as a young man to his final references to Melville in his late works. It shows Lawrence's initial reaction to ＜em＞Moby-Dick＜/em＞; how it led him to other works by Melville, namely ＜em＞Typee＜/em＞ and ＜em＞Omoo＜/em＞; and how Melville affected Lawrence's critical and creative writing and shaped his philosophy.＜br /＞ This book is a study of the creative process that shows how one great writer inspired another, but it also makes a major contribution to the history of the book and two of its subfields: the history of reading, and reception studies. By his death in 1891, Melville had been forgotten except by a small circle of English enthusiasts. That group put Lawrence onto Melville, whereupon he became a - until now largely unacknowledged - leader of the Melville Revival that rescued the great writer from obscurity. This Swiss army knife of a book will appeal to scholars and booklovers alike.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞This book proposes a new model for understanding the musical work, which includes interpretation -- both analysis- and performance-based -- as an integral component.＜/strong＞＜/p＞ ＜p＞This book proposes a model for understanding the musical work in which both analysis-based and performance-based modes of interpretation are integral to the work. Jeffrey Swinkin explores the important role that performance playsin elucidating a work and argues for the performative nature of music analysis itself, focusing in particular on Schenkerian analysis. Swinkin's aim is to show that music analysis is grounded in the same kinds of physical and emotional experiences that performers are necessarily concerned to project. Analysis and performance are thus deeply compatible and can enjoy an equitable, fruitful relationship. The first three chapters theorize this stance; thelast three apply it to works by Chopin, Beethoven, and Schumann, respectively.＜/p＞ ＜p＞Jeffrey Swinkin is assistant professor of music theory at the University of Oklahoma.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Provides an aesthetic and historical overview of and new critical insights into Paul Wegener's great 1920 film, recognized at the time as a breakthrough in German cinema.＜/strong＞＜/p＞ ＜p＞Actor and director Paul Wegener released his 1920 silent film ＜em＞The Golem, How He Came into the World＜/em＞ in the aftermath of Germany's defeat in World War I. The film's innovative cinematography, lighting effects, modernist architectural design, and thrilling plot all led contemporaneous viewers and critics to pronounce that Germany had finally succeeded on the film front if not on the battlefield. ＜em＞The Golem, How He Came into the World＜/em＞, Wegener'sthird golem film, narrates how Rabbi Loew, here an astrologer and sorcerer as well as a spiritual leader, forms and animates an artificial clay anthropoid in order to save the Prague Jewish community from an edict of expulsion. Maya Barzilai situates the 1920 film in the historical and social context of post-World War I Germany, taking into consideration Wegener's violent and traumatic service on the Western front. She closely analyzes the film's expressive sculptural aesthetic, enhanced through poetic cinematography, arguing that Wegener's animation of cinema also served a postwar ethical purpose: revealing the human face of the golem and offering a redemptive escape from the thefilm's Christian-Jewish conflict through nature on the one hand and Zionism on the other.＜/p＞ ＜p＞MAYA BARZILAI is Associate Professor of Hebrew Literature and Jewish Culture at the University of Michigan." She is the author of＜em＞Golem: Modern Wars and Their Monsters＜/em＞ (2016).＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The first regional history of music in England.＜/strong＞＜/p＞ ＜p＞＜em＞Music in the West Country＜/em＞ is the first regional history of music in England. Ranging over seven hundred years, from the minstrels, waits, and cathedral choristers of the fourteenth century to the Bristol Sound of the late twentieth, the book explores the region's soundscape, from its gateway cities of Bristol and Salisbury in the east to the Isles of Scilly in the west, and examines music-making in tiny villages as well as conditions in important centres such as Bath, Exeter, Plymouth, and Bournemouth. What emerges is both a study of the typical - musical practices which would apply to any English region - and a portrait of the unique - features born of the region's physicalisolation and charm, among them the growth of festival culture, the mythologising of folk music, the late survival of parish psalmody and nonconformist carolling, and the unique continuance, today, of a professional resort orchestra, the Bournemouth Symphony Orchestra.＜br /＞ Banfield's vividly written and extremely readable history of music in the west country considers an array of subjects, firmly centred on people's stories: musical inventions and theidea of tradition, music as cultural capital, the economics of musical employment and the demographics of musicianship, musical networks, the relationship of the hinterlands to the metropolis, the influence of topography, the importance of institutions and events, and the question of how to measure value. A study in prosopography, it shows how people went about their lives with music and explores how things changed for them - or did not.＜/p＞ ＜p＞STEPHENBANFIELD is Emeritus Professor of Music at the University of Bristol.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Presents essays by leading short-story writers on their favorite American short stories and why they like them. It will send readers to the library or bookstore to read - or re-read - the stories selected.＜/strong＞＜/p＞ ＜p＞On the assumption that John Updike was correct when he asserted, in a 1978 letter to Joyce Carol Oates, that "Nobody can read like a writer," ＜em＞Why I Like This Story＜/em＞ presents brief essays by forty-eight leading American writers on their favorite American short stories, explaining why they like them. The essays, which are personal, not scholarly, not only tell us much about the story selected, they also tell us a good deal about the author of the essay, about what elements of fiction he or she values.＜br /＞ Among the writers whose stories are discussed are such American masters as James, Melville, Hemingway, O'Connor, Fitzgerald, Porter, Carver, Wright, Updike, Bellow, Salinger,Malamud, and Welty; but the book also includes pieces on stories by canonical but lesser-known practitioners such as Andre Dubus, Ellen Glasgow, Kay Boyle, Delmore Schwartz, George Garrett, Elizabeth Tallent, William Goyen, Jerome Weidman, Peter Matthiessen, Grace Paley, William H. Gass, and Jamaica Kincaid, and relative newcomers such as Lorrie Moore, Kirstin Valdez Quade, Phil Klay, Viet Thanh Nguyen, and Edward P. Jones. ＜em＞Why I Like This Story＜/em＞ will send readers to the library or bookstore to read or re-read the stories selected.＜br /＞ Among the contributors to the book are Julia Alvarez, Andrea Barrett, Richard Bausch, Ann Beattie, Andre Dubus, George Garrett, William H. Gass, Julia Glass, Doris Grumbach, Jane Hamilton, Jill McCorkle, Alice McDermott, Clarence Major, Howard Norman, Annie Proulx, Joan Silber, Elizabeth Spencer, and Mako Yoshikawa.＜/p＞ ＜p＞Editor Jackson R. Bryer is Professor Emeritus of English at the University of Maryland.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Presents essays by leading short-story writers on their favorite American short stories and why they like them. It will send readers to the library or bookstore to read - or re-read - the stories selected.＜/strong＞＜/p＞ ＜p＞On the assumption that John Updike was correct when he asserted, in a 1978 letter to Joyce Carol Oates, that "Nobody can read like a writer," ＜em＞Why I Like This Story＜/em＞ presents brief essays by forty-eight leading American writers on their favorite American short stories, explaining why they like them. The essays, which are personal, not scholarly, not only tell us much about the story selected, they also tell us a good deal about the author of the essay, about what elements of fiction he or she values.＜br /＞ Among the writers whose stories are discussed are such American masters as James, Melville, Hemingway, O'Connor, Fitzgerald, Porter, Carver, Wright, Updike, Bellow, Salinger,Malamud, and Welty; but the book also includes pieces on stories by canonical but lesser-known practitioners such as Andre Dubus, Ellen Glasgow, Kay Boyle, Delmore Schwartz, George Garrett, Elizabeth Tallent, William Goyen, Jerome Weidman, Peter Matthiessen, Grace Paley, William H. Gass, and Jamaica Kincaid, and relative newcomers such as Lorrie Moore, Kirstin Valdez Quade, Phil Klay, Viet Thanh Nguyen, and Edward P. Jones. ＜em＞Why I Like This Story＜/em＞ will send readers to the library or bookstore to read or re-read the stories selected.＜br /＞ Among the contributors to the book are Julia Alvarez, Andrea Barrett, Richard Bausch, Ann Beattie, Andre Dubus, George Garrett, William H. Gass, Julia Glass, Doris Grumbach, Jane Hamilton, Jill McCorkle, Alice McDermott, Clarence Major, Howard Norman, Annie Proulx, Joan Silber, Elizabeth Spencer, and Mako Yoshikawa.＜/p＞ ＜p＞Editor Jackson R. Bryer is Professor Emeritus of English at the University of Maryland.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。