Bucknell University Press – serie

Alasdair Gray is the first American study of this important Scottish novelist's work, and the first comprehensive study of his novels to appear anywhere. It encompasses the full range of Gray's career, from Lanark to Mavis Belfrage.

How do individuals, societies, and nations deal with their difficult pasts? "Getting History Right" examines this question in a comparative context by looking at an authoritarian East Germany and a pluralistic, democratic West Germany. Eschewing a narrow focus on elites, this work draws extensively on societal level discussions of the past in popular culture, such as film, television, radio, and newspapers. It examines how societal level discussions of the past shaped individual perceptions and interpretations of the past; and how individual perceptions and struggles over the meaning of the past shaped societal level discussions. These struggles over meaning and "getting history right" are not only shaped by political power, but are also a source of symbolic power.To understand political life, scholars must embrace not only material political power, but also the symbolic and cultural roots of power. The research presented here makes extensive use of public opinion data, cinema attendance, and television viewer data, as well as other sources, to look at the multiple meanings that East and West Germans assigned to the Holocaust and World War II across time. Rather than culture merely being an extension of political power, this work argues that culture and the boundaries of the cultural matrix shape the use of political power by different social actors. Getting history right is not only a reflection of political power; it is a source of power itself.

This book presents a series of essays that examine the ideological, personal, and political difficulties faced by the group variously termed the Anglo-Irish, the Protestant Ascendancy, or the English in Ireland, a group that existed in a world of contested ideological, political, and cultural identities. At the root of this conflicted sense of self was an acute awareness among the Anglo-Irish of their liminal position as colonial dominators in Ireland who were viewed as 'other' both by the Catholic natives of Ireland and their English kinsmen. The work in this volume is highly interdisciplinary, bringing to bear examination of issues that are historical, literary, economic, and sociological. Contributors investigate how individuals experienced the ambiguities and conflicts of identity formation in a colonial society, how writers fought the economic and ideological superiority of the English, how the cooption of Gaelic history and culture was a political strategy for the Anglo-Irish, and how literary texts contributed to the emergence of national consciousness. In seeking to understand and trace the complex process of identity formation in early modern Ireland, the essays in this volume attest to its tenuous, dynamic, and necessarily incomplete nature.

Barcelona, the cultural epicenter of Catalunya, is presently experiencing the most dynamic and polemical period in its modern theater history. It is the commanding hub of an energetic theater scene that in recent years has witnessed an exuberant outpouring of new dramatists, a steady crescendo in theater attendance, and a continual increase in the international presence of Catalan directors, playwrights, and companies. The path along which the contemporary Catalan stage has struggled to recover and reconstitute the professional legitimacy and visibility that it lost during the Franco dictatorship has been a complex process. In the Eye of the Storm: Contemporary Theater in Barcelona describes the public and private dramas, crucial moments, and even some of the back stories that have shaped the theatrical life of the city of Barcelona in the aftermath of the dictatorship. It also considers at length several key companies, playwrights, theatrical works, and performances that have contributed in significant ways to the recuperation of the Catalan stage during the democratic period.

The most significant European poet of the second half of the twentieth century, Paul Celan, viewed poetry as "the language of an individual that has become form," an individual that is constructed through the act of observation in the poem. Hillard argues that individuality is the crux of poetry for Celan because the Holocaust effectively eviscerated the individual. He investigates the core figures of individuality in Celan's poetry and prose: semblance, madness, and the wound. Celan's enigmatic poetry of a depopulated textual universe has perplexed critics. This book argues that the poetry's figures have a common source—the discourse of observation from the fields of appearance, perception, and the mind.

Gothic Terrors brings together two discursive fields that have had very little contact hitherto: gothic studies and Hispanism. Though widely accepted in English studies, Hispanists seldom invoke the concept of a Gothic mode existing beyond its first appearance in the eighteenth century. Highlighting Gothic elements in mainstream Spanish fiction from the nineteenth century until the present day, Lee Six challenges the view that Spanish writers rejected what the Gothic had to offer. Through close study of texts by Benito Pérez Galdós, Emilia Pardo Bazán, Miguel de Unamuno, Camilo José Cela, Adelaida García Morales, Espido Freire, and Javier García Sanchez, Abigail Lee Six traces the evolution of three staples of the Gothic: the heroine imprisoned on grounds of madness, the doubled or split character, and the use of violent, gory description. Persuasively argued and well researched, Gothic Terrors reflects on the Gothic presence in Spanish mainstream literature and identifies two important ways in which it crosses cultural divides: the traditional gulf between high and low culture within Spain, and the engagement of Spanish creative writers with transnational literary trends. Gothic Terrors will thus appeal to Gothic scholars who are interested in the Spanish dimension of their field, as well as to Hispanists who may have been unaware of how relevant and useful Gothic studies could be for them.

This volume is intended as an introduction of contemporary poetry by notable Uruguayan poets to the English-reading world, but also to readers of Spanish unfamiliar with them. Each poet is represented by an ample and varied selection of poems originally published in Spanish, here with English translations on facing pages. The final chapter is devoted to a biographical sketch of each poet and an extensive bibliography of primary and secondary sources.A numbers of these poets have had poems translated into other languages and included in national and international anthologies, and have received international recognition for their work, but they are still virtually unknown in English-speaking countries. Although some of Spanish America's most celebrated narrative writers of the past quarter century have garnered public, academic, and critical attention abroad, their poets have not. Part of this is due to a lack of orientation, a need to identify which poets of the hundreds currently writing are noteworthy.The editor of this anthology addresses this literary omission by identifying seventeen Uruguayans deserving of recognition: Jorge Arbeleche, Nancy Bacelo, Washington Benavides, Mario Benedetti, Amanda Berenguer, Luis Bravo, Selva Casal, Rafael Courtoisie, Marosa Di Giorgio, Enrique Fierro, Alfredo Fressia, Saúl Ibargoyen, Circe Maia, Jorge Meretta, Eduardo Milán, Alvaro Miranda, and Salvador Puig.