Böcker utgivna av Bucknell University Press

The book stands as a new bench-mark in Smart studies for the twenty-first century. The essays explore the energy of Christopher Smart's wide-ranging participation in eighteenth-century print culture: not only his often unbuttoned and vigorous writings themselves, but also the multiple cultural fields in which he operated, which included poetry, journalism, hymns and songs, translation, the theatre and books for children; thus the book offers rich insights into eighteenth-century literary, political and cultural history.

Magical Realism and the History of the Emotions in Latin America rethinks the rise and fall of magical realism in Latin America in light of the cultural history of the emotions and in conversation with contemporary theories of affect.

Developments in the Histories of Sexualities: In Search of the Normal,1600-1800 explores the oppositions created by the official exclusion of banned sexual practices and the resistance to that exclusion through widespread acceptance of those outlawed practices at an interpersonal level.

Coal Dust on Your Feet is a historical ethnography of Shamokin, Pennsylvania and its surrounding borough of Coal Township. This anthracite coal fueled the industrial revolution and its miners generated the rise of organized labor, both of which make the region of northeast Pennsylvania one of great economic and historic importance. The ethnographic field site of the study spans a century and a half as it looks at the history and ties to the home countries of the immigrants who established and worked the coal mines. Details of individual lives and family histories enliven accounts of industry and the struggles of the unions, means of livelihood, ethnicity, associational life and ceremonial occasions. It will be of interest to anthropologists, sociologists, scholars of urban studies and labor historians, and contributes to the canon of literature on community and sense of place. The study focuses on the rise and decline of the mining industry, on the ethnic groups that formed the town's neighborhoods, and on the changes that have taken place in ethnicity, religion, class and community. It covers the period of prosperity when the factories of the New York garment industry moved into town for the middle years of the twentieth century and made Shamokin a shopping mecca. Today, the town is decimated by economic decline and population loss, but ethnicity remains an identity option and still has economic content. The strong sense of place of the people of the town rooted in their cultural and militant heritage, has given rise to a wider community of former residents who return to visit, participate in events and buy ethnic foods and cultural items. This wider community of belonging and identity helps to boost morale, sense of community and economy, in what is now primarily a retirement town with commuters traveling to work in nearby cities.

Oliver Goldsmith (17281774) moved between the genres and geographies of enlightenment writing with considerable dexterity. As a consequence he has been characterized as a passive purveyor of enlightenment thought, a hack, a harried translator of the French enlightenment for an English audience, an ideological lackey, and a subtle ironist. In poetry, he is either a compliant pastoralist or an engaged social critic. Yet Goldsmith's career is as complex and as contradictory as the enlightenment currents across which he wrote, and there is in Goldsmith's oeuvre a set of themesincluding his opposition to the new imperialism and to glibly declared principles of libertywhich this book addresses as a manifestation of his Irishness. Michael Griffin places Goldsmith in two contexts: one is the intellectual and political culture in which he worked as a professional author living in London; the other is that of his nationality and his as yet unstudied Jacobite politics. Enlightenment in Ruins thereby reveals a body of work that is compellingly marked by tensions and transits between Irishness and Englishness, between poetic and professional imperatives, and between cultural and scientific spheres.

A History of Ecology and Environmentalism in Spanish American Literature undertakes a comprehensive ecocritical examination of the region's literature from the foundational texts of the nineteenth century to the most recent fiction. The book begins with a consideration of the way in which Argentine Domingo Faustino Sarmiento's views of nature through the lens of the categories of ';civilization' and ';barbarity' from Facundo (1845) are systematically challenged and revised in the rest of the century. Subsequently, this book develops the argument that a vital part of the cultural critique and aesthetic innovations of Spanish American modernismo involve an ecological challenge to deepening discourses of untamed development from Europe and the United States. In other chapters, many of the well-established titles of regional and indigenista literature are contrasted to counter-traditions within those genres that express aspects of environmental justice, ';deep ecology,' the relational role of emotion in nature protectionism and conservationism, even the rights of non-human nature. Finally, the concluding chapters find that the articulation of ecological advocacy in recent fiction is both more explicit than what came before but also impacts the formal elements of literature in unique ways. Textual conventions such as language, imagery, focalization, narrative sequence, metafiction, satire, and parody represent innovations of form that proceed directly from the ethical advocacy of environmentalism. The book concludes with comments about what must follow as a result of the analysis including the revision of canon, the development of literary criticism from novel approaches such as critical animal studies, and the advent of a critical dialogue within the bounds of Spanish American environmentalist literature.A History of Ecology and Environmentalism in Spanish American Literature attempts to develop a sense of the way in which ecological ideas have developed over time in the literature, particularly the way in which many Spanish American texts anticipate several of the ecological discourses that have recently become so central to global culture, current environmentalist thought, and the future of humankind.

Wordsworth, Hemans, and Politics, 18001830: Romantic Crises is a study of the political lives of William Wordsworth and Felicia Hemans between 1800 and 1830. Tracing trajectories from the first decade of the nineteenth century to the meeting of the two authors in 1830, Wordsworth, Hemans, and Politics argues that the dominant paradigm for their political thought was that of ';crisis.' Obsessed with the mysterious connections between the individual, the home, and the state, Wordsworth and Hemans portrayed all three in a common crisis that would be resolved in the future. Both writers articulated historical moments when the tenuousness of the present society gave glimpses into a future one. Building on and reacting to the strong critical statements of the 80s and 90s that tended to see the political views of Wordsworth and Hemans as formed by personal crises, Wordsworth, Hemans, and Politics argues that far from being tied to personal circumstances, crises were staged by Wordsworth and Hemans to argue for clear political positions on a wide variety of topics. Because crises come with claims of singularity, the use of crises to explain historical change finds its origin in revolutionary ideology. But because imagined crises proliferated throughout the Romantic period, crises no longer signaled earth-shattering change, but business as usual. The ideology of crises carried the tension between revolution and modernity that haunted the Romantic period. Wordsworth, Hemans, and Politics presents revisionary readings of major works and contributes to long-standing discussions on a number of different topics: dissenting politics, poor relief, gender roles in peace and wartime, and the nature of historical memory, to name a few. By focusing on the dramatic nature of crisis narratives, Wordsworth, Hemans, and Politics responds to master narratives of the Romantic period that limit and simplify political expression. The book restores complexity to the political lives of two poets who fashioned revolutionary ideology for their own ends.

Shakespeare and the Spanish Comedia examines masterpieces of early modern English and Spanish theater with attention to issues of transculturation, translation, interpretation and performance. This collection of essays by highly respected British and American scholars and theater practitioners offers a unique transnational view of two great dramatic traditions in the social contexts in which they were originally created and in which they are presently viewed.

Antonio Lopez Garca's Everyday Urban Worlds: A Philosophy of Painting is the first book to give the famed Spanish artist the critical attention he deserves. Born in Tomelloso in 1936 and still living in the Spanish capital today, Antonio Lopez has long cultivated a reputation for impressive urban scenesbut it is urban time that is his real subject.Going far beyond mere artist biography, Benjamin Fraser explores the relevance of multiple disciplines to an understanding of the painter's large-scale canvasses. Weaving selected images together with their urban referentsand without ever straying too far from discussion of the painter's oeuvre, method and reception by criticsFraser pulls from disciplines as varied as philosophy, history, Spanish literature and film, cultural studies, urban geography, architecture, and city planning in his analyses.The book begins at ground level with one of the artist's most recognizable images, the Gran Va, which captures the urban project that sought to establish Madrid as an emblem of modernity. Here, discussion of the artist's chosen painting styleone that has been referred to as a ';hyperrealism'is integrated with the central street's history, the capital's famous literary figures, and its filmic representations, setting up the philosophical perspective toward which the book gradually develops.Chapter two rises in altitude to focus on Madrid desde Torres Blancas, an urban image painted from the vantage point provided by an iconic high-rise in the north-central area of the city. Discussion of the Spanish capital's northward expansion complements a broad view of the artist's push into representations of landscape and allows for the exploration of themes such as political conflict, social inequality, and the accelerated cultural change of an increasingly mobile nation during the 1960s.Chapter three views Madrid desde la torre de bomberos de Vallecas and signals a turn toward political philosophy. Here, the size of the artist's image itself foregrounds questions of scale, which Fraser paints in broad strokes as he blends discussions of artistry with the turbulent history of one of Madrid's outlying districts and a continued focus on urban development and its literary and filmic resonance.Antonio Lopez Garca's Everyday Urban Worlds also includes an artist timeline, a concise introduction and an epilogue centering on the artist's role in the Spanish film El sol del membrillo. The book's clear style and comprehensive endnotes make it appropriate for both general readers and specialists alike.

Ricardo Palma's Tradiciones is the first full-length account of Ricardo Palma informed by theories of cultural criticism. Elisa Sampson Vera Tudela sheds new light on important aspects of Palma's work. She offers a fresh interpretation of the relations between history and literature perhaps the most discussed aspect of Palma's work engaging with new critical thinking on historicism and examining the significance of the marginal and the anecdotal in Palma's work. By using the tools of postcolonial cultural criticism, Vera Tudela considers Palma's encounter with modernity, arguing that his recuperation of colonial history plays a crucial part in imagining the modern future. Most innovatively, Vera Tudela examines the multiple and contradictory notions of femininity in nineteenth-century Latin America and in Palma's writing, showing how a historical consideration of the sexual politics of cultural production transforms our understanding of many of the assumptions about this period. Finally, by applying the insights of cultural geography in analysing the racial, sexual and political identity of domestic, urban and national space in Palma's writing, Vera Tudela demonstrates that Palma's literary maps and topographies are uniquely revelatory of questions of power and agency. In its exploration of sexual politics and nationhood, Ricardo Palma's Tradiciones presents Palma as a proto-modernist who paved the way for many of the experiments of twentieth-century Latin American narrative fiction.