Wayne State University Press – förlag

The Tale of Tales, made up of forty-nine fairy tales within a fiftieth frame story, contains the earliest versions of celebrated stories like Rapunzel, All-Fur, Hansel and Gretel, The Goose That Laid the Golden Egg, Sleeping Beauty, and Cinderella. The tales are bawdy and irreverent but also tender and whimsical, acute in psychological characterization and encyclopedic in description. They are also evocative of marvelous worlds of fairy-tale unreality as well as of the everyday rituals of life in seventeenth-century Naples. Yet because the original is written in the nonstandard Neopolitan dialect of Italian—and was last translated fully into English in 1932—this important piece of Baroque literature has long been inaccessible to both the general public and most fairy-tale scholars.Giambattista Basile’s The Tale of Tales, or Entertainment for Little Ones is a modern translation that preserves the distinctive character of Basile’s original. Working directly from the original Neopolitan version, translator Nancy L. Canepa takes pains to maintain the idiosyncratic tone of The Tale of Tales as well as the work’s unpredictable structure. This edition keeps the repetition, experimental syntax, and inventive metaphors of the original version intact, bringing Basile’s words directly to twenty-first-century readers for the first time. This volume is also fully annotated, so as to elucidate any unfamiliar cultural references alongside the text. Giambattista Basile’s The Tale of Tales, or Entertainment for Little Ones is also lushly illustrated and includes a foreword, an introduction, an illustrator’s note, and a complete bibliography.The publication of The Tale of Tales marked not only a culmination of the interest in the popular culture and folk traditions of the Renaissance period but also the beginning of the era of the artful and sophisticated ""authored"" fairy tale that inspired and influenced later writers like Charles Perrault and the Brothers Grimm. Giambattista Basile’s The Tale of Tales, or Entertainment for Little Ones offers an excellent point of departure for reflection about what constitutes Italian culture, as well as for discussion of the relevance that forms of early modern culture like fairy tales still hold for us today. This volume is vital reading for fairy-tale scholars and anyone interested in cultural history.

Using an introduction to mythology by the master storyteller Ovid himself, the authors have prepared a unique teaching tool designed to achieve proficiency at Latin in one year at the college level, two years at the high school or intermediate level. The volume provides students with imaginative, connected reading, beginning with introductory prose versions of Ovid's simple myth tales and progressing to the rich poetry of Ovidian Latin (with appropriate teaching aids) within forty lessons. The grammatical approach is traditional, but the central emphasis is on reading. In each chapter the reading appears first, followed by the vocabulary, the grammar, exercises, and etymology relating to the vocabulary. The exercises begin with a group of questions in Latin (based on the reading), to be answered in Latin. Each tale is preceded by a brief discussion in English of the story and its mythological significance. The myths retold by Ovid and the attractive format are conceived to impel the student into acquiring the skill to read the author in the original language.For additional complimentary materials on this topic, please see Latin Via Ovid Audio materials (available via downloadable flash drive and cassette tapes) by Norma Goldman and Jacob E. Nyenhuis and the accompanying text Practice, Practice: A Latin Via Ovid Workbook by Norma Goldman and Michael Rossi.

Insight into the lives of older Jews before, during, and after the Holocaust.Elderly Jews were among the most vulnerable groups during the Holocaust, yet little scholarly and literary work has focused on their experiences. Not only were they often the first to be murdered by the Nazis but they were also less likely to survive the physical strains of persecution. Editors Christine Schmidt, Elizabeth Anthony, and Joanna Sliwa and thirteen additional scholars center this marginalized group in historical research and counter other narratives in historiography and memory that only recount the devastation and despair associated with older age during the Holocaust. While these chapters explore how age and physical ability made older adults especially susceptible to violence and death, they also illuminate life and moments of agency within devastating circumstances. This volume is a powerful recovery of history and memory that expands our understanding of the Holocaust and the human experience during genocide.

There may be no more iconic image of mid-1980s network television than Sonny Crockett and Ricardo Tubbs speeding down Biscayne Boulevard in Crockett’s sleek black Ferrari on Miami Vice. With its unprecedented $1.3 million-per-episode budget and executive producer Michael Mann at the helm, Miami Vice brought feature film production values to prime time and redefined the television police drama. In Miami Vice author Steven Sanders argues that the show’s themes, narratives, visual realization, and sound design created a new standard of crime television that has its roots in classic film noir and neo-noir.In chapter 1 Sanders describes the social, political, and cultural background that led Anthony Yerkovich, creator of Miami Vice, and Mann to use Miami and its beaches not merely as a backdrop but as a character in its own right. Along with the show’s visual aspects, Sanders identifies themes of ambiguity, alienation, personal identity, and irony that came to define the distinctive ""TV noir"" style of Miami Vice. In chapter 2, Sanders discusses four key episodes to examine the existentialist and postmodern themes that can be found in their story lines and visual style. In chapter 3, Sanders considers questions of authenticity, redemption, and politics in Miami Vice, with reference to episodes that demonstrate the show’s attention to the political corruption and intrigue surrounding the war on drugs. In the final chapter, Sanders offers a novel explanation of why Miami Vice matters to film and video scholars.Miami Vice’s visual and musical appeal, cultural resonance, and topicality made it absorbing entertainment in its own day; Sanders proves that its exploration of social, moral, political, and philosophical issues make it worth watching twenty-five years later. Fans of the show and scholars of television history and American popular culture will appreciate this illuminating look at Miami Vice.

The seminal medieval history of the Second Commonwealth period of ancient Jewish history.Sepher Yosippon was written in Hebrew by a medieval historian and noted by modern scholars for its eloquent style. This is the first known chronicle of Jewish history and legend—from Adam to the destruction of the Second Temple—since the canonical histories written by Flavius Josephus in Greek and later translated by Christian scholars into Latin.Sepher Yosippon has been cited and referred to by scholars, poets, and authors as the authentic source for ancient Israel for over a millennium, until overshadowed by the twentiethcentury Hebrew translations of Josephus. It is based on Pseudo Hegesippus's fourth-century anti-Jewish summary of Josephus's Jewish War. However, the anonymous author (a.k.a. Joseph ben Gurion Hacohen) also consulted with the Latin versions of Josephus's works available to him. At the same time, he included a wealth of Second Temple literature as well as Roman and Christian sources. This book contains Steven Bowman's translation of the complete text of David Flusser's standard Hebrew edition of Sepher Yosippon, which includes the later medieval interpolations referring to Jesus. The present English edition also contains the translator's introduction as well as a preface by the fifteenth-century publisher of the book.The anonymous author of this text remains unique for his approach to history, his use of sources, and his almost secular attitude, which challenges the modern picture of medieval Jews living in a religious age. In his influential novel, A Guest for the Night, the Nobel Laureate author Shmuel Yosef Agnon emphasized the importance of Sepher Yosippon as a valuable reading to understand human nature. Bowman's translation of Flusser's notes, as well as his own scholarship, offers a well-wrought story for scholars and students interested in Jewish legend and history in the medieval period, Jewish studies, medieval literature, and folklore studies.

For some two centuries, scholars have wrestled with questions regarding the nature and logic of history as a discipline and, more broadly, with the entire complex of the "human sciences, " with include theology, philosophy, history, literature, the fine arts, and languages. The fundamental issue is whether the human sciences are a special class of studies with a specifically distinct object and method or whether they must be subsumed under the natural sciences.German philosopher Wilhelm Dilthey dedicated the bulk of his long career to there and related questions. His Introduction to the Human Sciences is a pioneering effort to elaborate a general theory of the human sciences, especially history, and to distinguish these sciences radically from the field of natural sciences. Though the Introduction was never completed, it remains one of the major statements of the topic. Together with other works by Dilthey, it has had a substantial influence on the recognition and human sciences as a fundamental division of human knowledge and on their separation from the natural sciences in origin, nature, and method.As a contribution to the issue of the methodologies of the humanities and social sciences, the Introduction rightly claims a place. This is the first time the entire work is available in English.In his introductory essay, translator Ramon J. Betanzos surveys Dilthey's life and thought and hails his efforts to create a foundational science for the particular human sciences, and at the same time, takes serious issue with Dilthey's historical/critical evaluation of metaphysics.

This title describes and examines the attempts of Gush Emunim, a religious nationalistic social movement, to construct Israeli identity, collective memory, and sense of place. Gush Emunim traces its roots to the 1967 Six Day War and the development of a Greater Israel ideology, which sought to maintain Israeli control of the West Bank and other newly acquired territories. The fundamentalist religious movement became a political force by constructing settlements within contested territory and is one of the key players in the Israeli - Palestinian conflict. In ""Settling in the Hearts"", Michael Feige analyzes the success of Gush Emunim through an examination of its ideology, practices, and symbolic construction of space and time. He argues that by constructing the meaning of contested territories as a national homeland, the ideological settlers attempt to redefine Zionism, Israel, and Judaism. In the first section of this volume, Feige explores how the Gush Emunim settlers reinterpret Jewish history, secular Zionist ideology, religious faith, and the Bible to discern the settlers' attitudes toward the Jewish exile experience. Feige identifies the crucial principles at work in the settlers' attempts to appropriate land, particularly in their use of collective memory, referring both to ancient times and to more contemporary events. In the second section, he presents fascinating case studies of Jewish settlements that Gush Emunim built beyond the green lines, in important symbolic centers such as Hebron, Ofra, and Gush. The concluding section analyzes the contemporary changes, conflicts, and crises that have affected Gush Emunim in the last year. ""Settling in the Hearts"" is based on a variety of qualitative sources, including interviews, participant observation, settlers' publications, and visual documents. Its novel way of understanding one of the most crucial factors affecting Israeli society and the Israeli - Palestinian conflict will be of interest to Israeli and Middle Eastern studies scholars and readers wanting to learn more about the complex dynamics of politics in the Middle East.

At a time when few reviewers and critics were taking the study of film seriously, Robin Wood released a careful and thoroughly cinematic commentary on Ingmar Bergman’s films that demonstrated the potential of film analysis in a nascent scholarly field. The original Ingmar Bergman influenced a generation of film scholars and cineastes after its publication in 1969 and remains one of the most important volumes on the director. This new edition of Ingmar Bergman, edited by film scholar Barry Keith Grant, contains all of Wood’s original text plus four later pieces on the director by Wood that were intended for a new volume that was not completed before Wood’s death in 2010. In analysing a selection of Bergman’s films, Wood makes a compelling case for the logic of the filmmaker’s development while still respecting and indicating the distinctiveness of his individual films. Wood’s emphasis on questions of value (What makes a work important? How does it address our lives?) informed his entire career and serve as the basis for many of these chapters. In the added material for this new edition, Wood considers three important films Bergman made after the book was first published—Cries and Whispers, Fanny and Alexander, and From the Life of the Marionettes—and also includes significant reassessment of Persona. These pieces provocatively suggest the more political directions Wood might have taken had he been able to produce Ingmar Bergman Revisited, as he had planned to do before his death. In its day, Ingmar Bergman was one of the most important volumes on the Swedish director published in English, and it remains compelling today despite the multitude of books to appear on the director since. Film scholars and fans of Bergman’s work will enjoy this updated volume.

The Yiddish Historians and the Struggle for a Jewish History of the Holocaust identifies the Yiddish historians who created a distinctively Jewish approach to writing Holocaust history in the early years following World War II. Author Mark L. Smith explains that these scholars survived the Nazi invasion of Eastern Europe, yet they have not previously been recognized as a specific group who were united by a common research agenda and a commitment to sharing their work with the worldwide community of Yiddish-speaking survivors.These Yiddish historians studied the history of the Holocaust from the perspective of its Jewish victims, focusing on the internal aspects of daily life in the ghettos and camps under Nazi occupation and stressing the importance of relying on Jewish sources and the urgency of collecting survivor testimonies, eyewitness accounts, and memoirs. With an aim to dispel the accusations of cowardice and passivity that arose against the Jewish victims of Nazism, these historians created both a vigorous defense and also a daring offense. They understood that most of those who survived did so because they had engaged in a daily struggle against conditions imposed by the Nazis to hasten their deaths. The redemption of Jewish honor through this recognition is the most innovative contribution by the Yiddish historians. It is the area in which they most influenced the research agendas of nearly all subsequent scholars while also disturbing certain accepted truths, including the beliefs that the earliest Holocaust research focused on the Nazi perpetrators, that research on the victims commenced only in the early 1960s and that Holocaust study developed as an academic discipline separate from Jewish history. Now, with writings in Yiddish journals and books in Europe, Israel, and North and South America having been recovered, listed, and given careful discussion, former ideas must yield before the Yiddish historians’ published works. The Yiddish Historians and the Struggle for a Jewish History of the Holocaust is an eye-opening monograph that will appeal to Holocaust and Jewish studies scholars, students, and general readers.

Magic culture is certainly fascinating. But what is it? What, in fact, are magic writings, magic artifacts? Originally published in Hebrew in 2010, Jewish Magic Before the Rise of Kabbalah is a comprehensive study of early Jewish magic focusing on three major topics: Jewish magic inventiveness, the conflict with the culture it reflects, and the scientific study of both. The first part of the book analyzes the essence of magic in general and Jewish magic in particular. The book begins with theories addressing the relationship of magic and religion in fields like comparative study of religion, sociology of religion, history, and cultural anthropology, and considers the implications of the paradigm shift in the interdisciplinary understanding of magic for the study of Jewish magic. The second part of the book focuses on Jewish magic culture in late antiquity and in the early Islamic period. This section highlights the artifacts left behind by the magic practitioners-amulets, bowls, precious stones, and human skulls-as well as manuals that include hundreds of recipes. Jewish Magic before the Rise of Kabbalah also reports on the culture that is reflected in the magic evidence from the perspective of external non-magic contemporary Jewish sources. Issues of magic and religion, magical mysticism, and magic and social power are dealt with in length in this thorough investigation. Scholars interested in early Jewish history and comparative religions will find great value in this text.

First published in 1968, The Buildings of Detroit: A History by W. Hawkins Ferry is the definitive resource on the architecture of Detroit and its adjacent communities, from pioneering times to the end of the twentieth century. Ferry based his impressive volume on thirteen years of meticulous research, interviews with many prominent architects, and hundreds of photos commissioned specifically for the book. Ferry revised The Buildings of Detroit in 1980, adding the Renaissance Center and other modern works, and this re-released version presents the revised edition adding only a new foreword by John Gallagher.spans from the early 1700s, when the city was a fur-trading post in the wilderness, to its more contemporary position as the capital of the automotive industry and a major industrial city. Along the way, Ferry offers glimpses of the log cabins of early explorers and soldiers, the Victorian mansions of lumber barons, and the Grosse Pointe and Bloomfield Hills residences of motor magnates. He traces the development of new building techniques that gave rise to the American skyscraper and the modern factory. Ferry details all of downtown’s landmark buildings, including many that are no longer standing, and visits fascinating neighborhood structures like movie theatres, hotels, shopping centres, and apartment buildings. In each chapter, readers will meet the visionary architects and clients whose foresight and initiative helped shape the fabric of one of America’s great cities.The Buildings of Detroit also includes a selected chronology, maps, references, notes, an extensive index, and 475 illustrations. Previously out of print and difficult to find, this re-released classic will be treasured by Detroit history buffs and architectural historians.

Gene Tierney may be one of the most recognizable faces of studio-era Hollywood: she starred in numerous classics, including Leave Her to Heaven, The Ghost and Mrs. Muir, and Laura, with the latter featuring her most iconic role. While Tierney was considered one of the most beautiful women in Hollywood, she personified "ordinariness" both on- and off-screen. Tierney portrayed roles such as a pinup type, a wartime worker, a wife, a mother, and, finally, a psychiatric patient—the last of which may have hit close to home for her, as she would soon leave Hollywood to pursue treatment for mental illness and later attempted suicide in the 1950s. After her release from psychiatric clinics, Tierney sought a comeback as one of the first stars whose treatment for mental illness became public knowledge. In this book, Will Scheibel not only examines her promotion, publicity, and reception as a star but also offers an alternative history of the United States wartime efforts demonstrated through the arc of Tierney's career as a star working on the home front. Scheibel's analysis aims to showcase that Tierney was more than just "the most beautiful woman in movie history," as stated by the head of production at Twentieth Century Fox in the 1940s and 1950s. He does this through an examination of her making, unmaking, and remaking at Twentieth Century Fox, rediscovering what she means as a movie legend both in past and up to the present. Film studies scholars, film students, and those interested in Hollywood history and the legacy of Gene Tierney will be delighted by this read.

In Luchino Visconti and the Fabric of Cinema, Joe McElhaney situates Visconti's films as privileged and deeply expressive instances of a trope that McElhaney identifies as the ""cinema of fabric"": a reoccurrence in film in which textiles-clothing, curtains, tablecloths, bedsheets-determine the filming process. An Italian neorealist, Visconti emerges out of a movement immediately following WWII wherein fabric assumes crucial functions, yet Visconti's use of fabric surpasses his colleagues in many ways, including its fluid, multifaceted articulations of space and time. Visconti's homosexuality is central to this theory in that it assumes metaphoric potential in addressing ""forbidden"" sexual desires that are made visible in the films. Visconti's cinema of fabric gives voice to desires not simply for human bodies draped in fabric but also for entire environments, a world of the senses in which fabric becomes a crucial method for giving form to such desires. McElhaney examines Visconti's neorealist origins in Ossessione, La terra trema, and Rocco and His Brothers, particularly through fabric's function within literary realism and naturalism. Neorealist revisionism through the extravagant drapings of the diva film is examined in Bellissima and Senso whereas White Nights and The Stranger are examined for the theatricalizing through fabric of their literary sources. Visconti's interest in German culture vis-?á-vis The Damned, Death in Venice, and Ludwig, is articulated through a complex intertwining of fabric, aesthetics, politics, and transgressive sexual desire. Finally, Visconti's final two films, Conversation Piece and The Innocent, assess through fabric both the origins of Italian fascism and the political tensions contemporaneous with the films' productions. Fabric in Visconti is often tied to the aesthetic impulse itself in a world of visionaries attempting to dominate their surrounding environments and where a single piece of fabric may come to represent the raw material for creation. This book will tantalize any reader with a keen eye and strong interest in film and queer studies.

In Archaic Modernism, Daniel Humphrey offers the first book-length, English-language examination of three adaptations of Greek tragedy produced by the gay and Marxist Italian filmmaker Pier Paolo Pasolini: Oedipus Rex (1967), Medea (1969), and Notes Towards an African Orestes (1970/1973). Considering Pasolini's own theories of a "Cinema of Poetry" alongside Jacques Derrida's concept of écriture, as well as more recent scholarship by queer theory scholars advocating for an antirelational and antisocial subjectivity, Humphrey maintains that Pasolini's Greek tragedy films exemplify a paradoxical sense of "archaic modernism" that is at the very heart of the filmmaker's project. More daringly, he contends that they ultimately reveal the queer roots of Western civilization's formative texts.Archaic Modernism is comprised of three chapters. Chapter 1 focuses on Oedipus Rex, assessing both the filmic language employed and the deeply queer mythological source material that haunts the tragedy even as it remains largely at a subtextual yet palpable level. Chapter 2 extends and deepens the concept of queer fate and queer negativity in a scene-by-scene analysis of Medea. Chapter 3 looks at the most obscure of Pasolini's feature length films, Notes Towards an African Orestes, a film long misunderstood as an unwitting failure, but which could perhaps best be understood as a deliberate, sacrificial act on the filmmaker's part. Considering the film as the third in an informal, maybe unconscious, trilogy, Humphrey concludes his monograph by arguing that this "trilogy of myth" can best be understood as a deconstruction, gradually more and more severe, of three of the most important origin tales of Western civilization.Archaic Modernism makes the case that these three films are as essential as those Pasolini films more often studied in the Anglophone world: Mamma Roma, The Gospel According to Matthew, Teorema, The Trilogy of Life, and Salò, and that they are of continuing, perhaps even increasing, value today. This book is of specific interest to scholars, students, and researchers of film and queer studies.

Raphael Patai's (1910-1996) lifelong fascination with Arab folktales began on a Ramadan night in 1933, at a cafe in Jerusalem where, for the first time, he heard a famous ""qassas"", a storyteller, tirelessly relate story after story from his vast repertoire of Arab folktales. In ""Arab Folktales from Palestine and Israel"", a collection of 28 tales gathered in Palestine and Israel and one of Patai's last books, Patai explores this rich cultural tradition. He studies tales from three separate times: those recounted by a German scholar in 1910-11, those read over Jerusalem Radio in the winter of 1946-47, and those recorded by the Israeli scholar Yoel Perez in 1982-84. These fables, part of the cultural heritage of a small corner of the Arab world, are translated into an English that remains faithful to the original Arabic text, presenting to foreign readers a sense of the original style and a picture of traditional Arab life and customs, attitudes, social and cultural norms, psychology and values. In their mingling of the everyday and the fabulous, the stories reveal both the embellishments on and the deviations from ordinary life that characterize folklore around the world. The stories tell of the trials and tribulations of ordinary human beings, the struggle between good and evil, rich and poor, and men and women, at different historical moments in response to different stages of modernization. They also describe fantastic creatures, such as animals that speak, encounters between humans and supernatural beings such as jinns and ghouls. Providing insight into Arab culture, Patai offers extensive notes and commentary on particular Arabic phrases and images, as well as the ways of speaking and thinking found among the Arab population, especially the Bedouins, in Palestine and Israel. Patai also places the stories in the context of global folktales, and traces the transformations in the art of storytelling. This collection as a whole presents a colourful slice of traditional Arab life, value, customs, attitudes and sociocultural patterns.

This is an updated, expanded history of techno music with special attention to its roots in Detroit. When it was originally published in 1999, Techno Rebels became the definitive text on a hard-to-define but vital genre of music. Author Dan Sicko demystified techno's characteristics, influences, and origins and argued that although techno enjoyed its most widespread popularity in Europe, its birthplace and most important incubator was Detroit. In this revised and updated edition, Sicko expands on Detroit's role in the birth of techno and takes readers on an insider's tour of techno's past, present, and future in an enjoyable account filled with firsthand anecdotes, interviews, and artist profiles. Techno Rebels begins by examining the underground 1980s party scene in Detroit, where DJs and producers like the Electrifying Mojo, Ken Collier, The Wizard, and Richard Davis were experimenting with music that was a world apart from anything happening in New York or Los Angeles. He details the early days of the 'Belleville Three' - Juan Atkins, Derrick May, and Kevin Saunderson - who created the Detroit techno sound and became famous abroad as the sound spread to the UK and Europe. In this revised edition, Sicko delves deeper into the Detroit story, detailing the evolution of the artists and scene into the mid-1990s, and looks to nearby Ann Arbor to consider topics like the Electrifying Mojo's beginnings, the role of radio station WCBN, and the emergence of record label Ghostly International. Sicko concludes by investigating how Detroit techno functions today after the contrived electronica boom of the late 1990s, through the original artists, new sounds, and Detroit's annual electronic music festival. Ultimately, Sicko argues that techno is rooted in the 'collective dreaming' of the city of Detroit - as if its originators wanted to preserve what was great about the city - its machines and its deep soul roots. Techno Rebels gives a thorough picture of the music itself and the trailblazing musicians behind it and is a must-read for all fans of techno, popular music, and contemporary culture.

Dudley Randall was one of the foremost voices in African American literature during the twentieth century, best known for his poetry and his work as the editor and publisher of Broadside Press in Detroit. While he published six books of poetry during his life, much of his work is currently out of print or fragmented among numerous anthologies. Roses and Revolutions: The Selected Writings of Dudley Randall brings together his most popular poems with his lesser-known short stories, first published in The Negro Digest during the 1960s, and several of his essays, which profoundly influenced the direction and attitude of the Black Arts movement.Roses and Revolutions: The Selected Writings of Dudley Randall is arranged in seven sections: "Images from Black Bottom," "Wars: At Home and Abroad," "The Civil Rights Era," "Poems on Miscellaneous Subjects," "Love Poems," "Dialectics of the Black Aesthetic," and "The Last Leap of the Muse." Poems and prose are mixed throughout the volume and are arranged roughly chronologically. Taken as a whole, Randall's writings showcase his skill as a wordsmith and his affinity for themes of love, human contradictions, and political action. His essays further contextualize his work by revealing his views on race and writing, aesthetic form, and literary and political history. Editor Melba Joyce Boyd introduces this collection with an overview of Randall's life and career.The collected writings in Roses and Revolutions not only confirm the talent and the creative intellect of Randall as an author and editor but also demonstrate why his voice remains relevant and impressive in the twenty-first century. Randall was named the first Poet Laureate of the City of Detroit and received numerous awards for his literary work, including the Life Achievement Award from the National Endowment of the Arts in 1986. Students and teachers of African American literature as well as readers of poetry will appreciate this landmark volume.

The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction contains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators' performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator's experience and at the same time impede their access to the perpetrator's consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

Cinemagritte: René Magritte within the Frame of Film History, Theory, and Practice investigates the dynamic relationship between the Surrealist modernist artist René Magritte (1898-1967) and the cinema-a topic largely ignored in the annals of film and art criticism. Magritte once said that he used cinema as ""a trampoline for the imagination,"" but here author Lucy Fischer reverses that process by using Magritte's work as a stimulus for an imaginative examination of film.While Fischer considers direct influences of film on Magritte and Magritte on film, she concentrates primarily on ""resonances"" of Magritte's work in international cinema-both fiction and documentary, mainstream and experimental. These resonances exist for several reasons. First, Magritte was a lover of cinema and created works as homages to the medium, such as Blue Cinema (1925), which immortalized his childhood movie theater. Second, Magritte's style, though dependent on bizarre juxtapositions, was characterized by surface realism-which ties it to the nature of the photographic and cinematic image. Third, Magritte shares with film a focus on certain significant concepts: the frame, voyeurism, illusionism, the relation between word and image, the face, montage, variable scale, and flexible point of view. Additionally, the volume explores art documentaries concerning Magritte as well as the artist's whimsical amateur ""home movies,"" made with his wife, Georgette, friends, and Belgian Surrealist associates. The monograph is richly illustrated with some forty images of Magritte's oeuvre as well as fifty film stills from such diverse works as The Eternal Sunshine of the Spotless Mind, Eyes Without a Face, American Splendor, The Blood of a Poet, Zorns Lemma, The Island of Dr. Moreau, The Draughtsman's Contract, and many more. Cinemagritte brings a novel and creative approach to the work of Magritte and both film and art criticism. Students, scholars, and fans of art history and film will enjoy this thoughtful marriage of the two.

Exhibiting the same clarity as Latin via Ovid, this student workbook parallels the text's forty lessons and is the ideal supplement to classroom recitation and exercises. Drills in grammar and vocabulary, combined with innovative directions for practice, facilitate the student's acquisition of Latin.Teachers: When ordering Latin via Ovid and the audio material, be sure to order the free Teacher's Manual (not sent to students) that contains all of the translations of the Latin stories, plus each chapter's Exercise V, which requires the translation from English into Latin. Games and songs are included. Please request this guide by calling us at 313-577-6126.For more information on how to use this product, please see Latin Via Ovid: A first Course, 2nd edition by Norma Goldman and Jacob E. Nyenhuis and the accompanying audio materials (in cassette and USB audio file format).

Julie Grossman and Will Scheibel's enthusiastic book on the television series Twin Peaks takes fans through the world that Mark Frost and David Lynch created and examines its impact on society, genre, and the television industry. Grossman and Scheibel explore the influences of melodrama and film noir, the significance around the idea of "home," as well as female trauma and agency. In addition to this close investigation of the series itself, the authors examine the rich storytelling surrounding Twin Peaks that includes the film prequel, Mark Frost's novels, and Showtime's 2017 revival. In Twin Peaks, Grossman and Scheibel argue that the show has transcended conventional binaries not only in film and television but also in culture and gender. The book begins with a look into the publicity and critical discourses on authorship that framed Twin Peaks as an auteurist project rather than a prime-time soap opera. Despite critics' attempts to distance the series from the soap opera genre, Grossman and Scheibel explore how melodrama and noir are used in Twin Peaks. Grossman and Scheibel masterfully examine star performances in the series including Kyle MacLachlan's epic portrayal as the idiosyncratic Special Agent Dale Cooper and Sheryl Lee's haunting embodiment of Laura Palmer. The monograph finishes with an examination of the adaptation and remediation of Twin Peaks in a variety of different platforms, which have further expanded the boundaries of the series. Twin Peaks explores the ways in which the series critiques multiple forms of objectification in culture and textuality. Readers interested in film, television, pop culture, and gender studies as well as fans and new audiences discovering Twin Peaks will embrace this book.

This volume considers the uses and misuses of the memory of assistance given to Jews during the Holocaust, deliberated in local, national, and transnational contexts. History of this aid has drawn the attention of scholars and the general public alike. Stories of heroic citizens who hid and rescued Jewish men, women, and children have been adapted into books, films, plays, public commemorations, and museum exhibitions. Yet, emphasis on the uplifting narratives often obscures the history of violence and complicity with Nazi policies of persecution and mass murder. Each of the ten essays in this interdisciplinary collection is dedicated to a different country: Belarus, Denmark, France, Germany, Greece, North Macedonia, the Netherlands, Poland, Slovakia, and Ukraine. The case studies provide new insights into what has emerged as one of the most prominent and visible trends in recent Holocaust memory and memory politics. While many of the essays focus on recent developments, they also shed light on the evolution of this phenomenon since 1945.

With its fast and furious dialogue, crackling wit, and political savvy, The West Wing became appointment TV for millions during its seven-season run between 1999 and 2006. The behind-the-scenes ensemble drama about Washington politics premiered on the wake of the Monica Lewinsky scandal, was the first series to respond to the 9/11 terrorist attacks, and concluded in the closing years of the Bush administration. Its subject matter was ambitious and germane, its cast star-studded, its production team acclaimed. In this volume, Janet McCabe explores The West Wing as both a space for political and social discourse and a force that reshaped contemporary television.McCabe begins by examining the series' broadcasting history, including its scheduling in the United States and around the world, and how the show defines channels and television markets. McCabe goes on to explore the role of the show's creator Aaron Sorkin as a TV auteur and investigates the program's aesthetic principles, including the distinctive look, feel, and sounds of the series. McCabe concludes by considering the political discourse of The West Wing, as the show spoke back to a U.S. culture divided by politics, race, and gender as well as the trauma of 9/11 and anxieties over terrorism and the wars in Iraq and Afghanistan.McCabe's analysis of The West Wing provides an intriguing look at the institutional, formal, and cultural politics of television. Fans of the series as well as students and teachers of television history will enjoy this detailed volume.

Renowned for its unique visual style, Homicide: Life on the Street fundamentally changed the police procedural genre. The show broke records, featured memorable characters, and launched careers--most notably that of David Simon, whose own nonfiction book, Homicide: A Year on the Killing Streets, inspired the series, and who went on to create both The Wire and Treme. Homicide was an anomaly in the 1990s for its honest and open portrayals and discussions of race, and in this TV Milestone, Lisa Doris Alexander uses Critical Race Theory as a lens to highlight how the show illustrated the impacts that racial politics can have on policing. Homicide is one in a long line of police procedurals that date back to the early days of broadcast television, with series such as Dragnet (NBC 1951-59), Hawaii Five-O (CBS 1968-80), and Columbo (NBC 1971-78). But because Homicide takes place and was filmed in the majority-Black city of Baltimore, it makes sense that many of the main and supporting cast are Black. This differentiated it from the other shows of its genre and time. Chapter 1 discusses the Black-starring roles on Homicide in terms of being non-stereotypical and both written and performed as well-rounded, complex characters. Chapter 2 focuses on issues of race and racism and their impact on policing. Chapter 3 looks at other power dynamics, such as class, political clout, and social standing, and how those dynamics intersect with race and the criminal justice system's perceived neutrality. In many regards, Homicide was ahead of its time. Alexander argues that Homicide reflects the politics of the Black Lives Matter movement, which in turn highlights the fact that the issues brought up by the movement are long-standing and that the series affirms the critiques BLM activists make about the criminal justice system. This book shows that the series' oftentimes unflinching commentary on the systemic flaws within the criminal justice system not only feels more at home in today's television and political landscape than it did in the 1990s but is just as relevant. Fans of the works of David Simon, as well as students and scholars of television studies and Critical Race Theory, will enjoy this enlightening book.