Series Of Anthologies Research Articles

The Speculative Anthology as a Formal Experiment in Futurity

This article theorises the ‘speculative anthology' as a formal experiment in futurity that challenges how anthologies have been used to publish, and promote, science fiction from the Global South in the international literary marketplace. It focuses on the ‘Futures Past' series of anthologies published by Comma Press – Iraq+100 (2016), Palestine+100 (2019), Kurdistan+100 (2021), and Egypt+100 (2024) – in which indigenous writers are asked to imagine regional futures one century after a major historical event that has defined the pasts and presents of these existing, or aspiring, nation states. Building on recent scholarship in postcolonial print culture which has proposed new strategies for reading evolving genres of the anthology, I first consider the speculative anthology as a heterogeneous literary form which has the capacity to facilitate creative collaboration and collective forms of critique. At the same time, I show how such anthologies reveal a homogenising impulse, often rooted in national imaginaries, and can encourage an anthropological approach to literary writing, especially by minoritised authors. Reading across the paratextual infrastructures of the ‘Futures Past’ series, I then compare how individual anthologies are shaped by various speculative editorial and publishing practices. I conclude that this experiment in futurity undertakes meaningful, yet imperfect, speculative work as it imagines how writing about the future by authors from the Global South might be anthologised otherwise.

Lawino in the Library: Anthropology, Modernity, and the Profession of African Literature

AbstractThis essay examines the shadowy brokerage of literary and anthropological value during the era of decolonization and its connection to the institutionalizing of African literature. Drawing on original archival research, it recovers the conversation between the Ugandan poet Okot p'Bitek's major long poemSong of Lawinoand the Oxford Library of African Literature, a series of oral-literature anthologies edited by Okot's and Talal Asad's advisers at the Oxford Institute of Social Anthropology. Instead of reciprocating the series's temporal and hierarchical assumptions, which appropriate late modernist literary criticism's nostalgic veneration of the British past,Song of Lawinoreconfigures the protocols for the textual production of oral poetry by revising social anthropology's theories of time and matter. If accounts of the departmentalization of African literature portray it as a transfer of colonial paradigms to postcolonial contexts, this interfield account of the making ofSong of Lawinocalls for an alternative history.

Working Verse in Victorian Scotland: Poetry, Press, Community, by Kirstie Blair

Reviewed by: Working Verse in Victorian Scotland: Poetry, Press, Community by Kirstie Blair Taryn Hakala (bio) Working Verse in Victorian Scotland: Poetry, Press, Community, by Kirstie Blair; pp. vii + 235. Oxford: Oxford University Press, 2019, £63.00, $85.00. Kirstie Blair's Working Verse in Victorian Scotland: Poetry, Press, Community reassesses Scottish working-class verse culture, drawing it out of the literary margins and arguing for its importance to Scottish literary history and Victorian studies more broadly. Breaking with past studies that have been negative and dismissive of Victorian Scottish poetry, Blair shows that the working-class poets in her study are often self-consciously "imitative, parochial, provincial, romantic, sentimental, and escapist" and that these qualities are "not flaws" (8). These poets understood the potential cultural and political benefits of their mastery of high culture and wielded familiar forms in important, and sometimes innovative, ways and for political ends. Blair's impressively extensive research gives readers a fascinating look inside a sizeable, rich, and largely untapped archive of Scottish working-class writing. Partly because this archive is so vast and complex, Blair's study focuses on popular poetics and poets who operated in local Scottish contexts, especially in the newspaper poetry columns. While this focus may seem narrow, Blair points out that because Scottish provincial verse often circulated in newspapers and periodicals as well as in song lyrics to "an extensive international diaspora of readers who still consider themselves to be locals," it "had a surprising global reach" (13). Moreover, this focus reveals "the enormously influential discourse … on Scotland's unique identity as a home for working-class poets" (14) as well as "the crucial significance of the 'local' bard in Scotland's cultural imagination" (26). Each of Working Verse's five chapters considers a different context or genre while tying them back to their relationship to the provincial newspaper press. Chapter 1 considers occasional and performed verse and sets up the arguments of subsequent chapters. The Scottish working classes were encouraged to write poetry to bolster Scotland's status as the "Peasant Poetic Queen of Nations" (20). Local and provincial working-class verse cultures were, therefore, valued and, as Blair shows, mobilized for social, cultural, and political ends. Chapter 2 examines an exceedingly popular series of Scottish poetry anthologies called Whistle-Binkie (1832–90), challenging its perception as a symptom of a post-Robert Burns decline in Scottish poetry. Through her analysis of the anthologies alongside unpublished correspondence between editors and contributors, Blair reveals how a collective of working-class male writers—the Whistlebinkians—was constructed and nurtured. One of the most interesting aspects of this chapter is Blair's discussion of nursery verse and the ways in which male authors appropriated the sentimental poetics most often associated with femininity and women poets. Indeed, though there were working-class women who wrote nursery verse, in Victorian Scotland working-class men were the foremost authors; nursery verse was largely regarded as a male genre. Through its positive depictions of working-class family values and the Scots language, this poetry demonstrated the fitness of the working classes for full participation in politics and society. In chapter 3, Blair rereads poems that build on Burnsian pastoral as part of an activist tradition. She shows how, when we consider this poetry in its original context, the newspaper column, we can discern its political motivations. While it appears to be the least political of all poetic genres in the Victorian period, Blair argues that "its naïvety is a [End Page 155] front" (136). Poems about rights of way, improvement, and emigration put familiar forms and tropes to work in debates about working people's relationship to the land. Chapter 4 challenges the commonly held belief that industrial change was not fully explored in literature until the Scottish Renaissance of the early to mid-twentieth century. Blair shows that, on the contrary, "Scotland's industrial development is the context that shapes the verse culture on the [Victorian] period" (138). The chapter focuses on the poetry of miners and railway workers and explores how these poets deftly combined form and content to draw attention to issues and advocate for change. The final chapter shifts from...

Мировая литература в зеркале провинциальной периодики. Рецензия на цикл хрестоматий и учебное пособие, посвященных переводам иностранной литературы в дореволюционных сибирских газетах

Мировая литература в зеркале провинциальной периодики. Рецензия на цикл хрестоматий и учебное пособие, посвященных переводам иностранной литературы в дореволюционных сибирских газетах

British participation in the quincentenary commemorations of the death of Prince Henry ‘the Navigator’ (1960)

In 1960, Portugal celebrated the five-hundredth anniversary of the death of Prince Henry, a heroic figure acclaimed for his role in the early maritime dis- coveries. The celebrations lasted several months and were sponsored by the Portuguese state. They included a wide variety of diplomatic, academic and cultural initiatives. These festivities were used as an opportunity to unite the Portuguese populous in the face of various potential threats to the Estado Novo which surfaced during this time. Although they were dismissed by the British foreign office, the Royal Navy and Royal Air Force took the opportunity to participate in a heavily publicized naval review as their ‘oldest ally.’ A variety of Anglo-Portuguese exchanges occurred in the academic world through a series of state-sponsored history anthologies, an international con- ference and reciprocal exhibitions on the topic of the Portuguese discoveries. This paper looks at some key individuals that facilitated these exchanges in Britain using the correspondence that they left behind. It shows internatio- nal outreach in the Estado Novo’s official program of celebrations and the pragmatic management of the Anglo-Portuguese alliance.

Teaching "the young idea how to shoot"

"The Burney family stood at the centre of cultural life of eighteenth- and nineteenth-century England, and excelled in several forms of artistic expression, especially in writing. Among the manuscripts preserved in the family archive are some collections of juvenilia produced by the children of Charles Rousseau and Esther Burney, Frances Burney’s elder sister. These literary projects helped the young authors to build confidence in their writing, refine their craft, and find a voice. This paper examines two: the first is an early example of a family-produced magazine that is patterned after one of the first-ever periodicals aimed at children. The second collection is a series of anthologies containing poems, plays, and stories written by Sophia Elizabeth Burney and dedicated to her novelist aunt. The plays seem designed to be performed in amateur theatricals; the stories contain images of female suffering, sharp satire on social pretentions, and a raucous (even violent) sense of humour that evoke the novels of Frances Burney. The newly discovered manuscripts reflect an environment that evidently encouraged creative play, self-expression, and artistic production. The study of these juvenile works yield insight into the creative world of the Burneys and, more generally, into the world of the child reader and writer in late eighteenth-century England.

La construcción del canon poético contemporáneo entre España y Portugal

Throughout the twentieth century the various contacts and mutual reception between the poets of Spain and Portugal were the result of particular initiatives. Despite the importance and relative abundance of these confluences, a fluid and constant dialogue was never established on either side of the border. Perhaps this explains the scarce presence of poetic anthologies that picked up over the years the lyrical current of the neighboring country during most of the twentieth century. The anthology devised by Eugenio de Andrade in 1957 as commissioned by the editor Costa Barreto for the newspaper O Comercio do Porto and his monograph on Spanish poetry published in installments between December 1957 and February 1958 was in this sense the starting point for a series of anthologies that would appear from then on, thus enabling a more fluid reading of the Spanish poetic panorama in Portugal. This article aims to highlight the important role played by this mid-century anthology, analyzing its gestation, its composition process and some avatars of its intrahistory as the important role played by the Spanish poet Rafael Morales, a true intermediary between the anthologist and the selected poets. In conclusion, we must clearly highlight the important place occupied by this monograph of O Comercio do Porto in the complex and busy poetic dialogue maintained between Spain and Portugal throughout the past century.Key words: reception of Spanish poetry in Portugal, Eugenio de Andrade, literary canon, Iberian comparativism.

The Cambridge History of Japanese Literature ed. by Haruo Shirane, Tomi Suzuki, and David Lurie

Reviewed by: The Cambridge History of Japanese Literature ed. by Haruo Shirane, Tomi Suzuki, and David Lurie Richard Bowring (bio) The Cambridge History of Japanese Literature. Edited by Haruo Shirane, Tomi Suzuki, and David Lurie. Cambridge University Press, Cambridge, 2016. xx, 847 pages. $195.00, cloth; $156.00, E-book. Of Haruo Shirane’s many talents, two stand out here: his extraordinary energy and his ability to organize on a grand scale. Over the years, in addition to important publications on Genji monogatari and Bashō, he has conceived a number of major projects. These include the series of impressive Columbia University Press anthologies of Japanese literature in translation, which have transformed our ability to run classes for students who wish to have a taste of Japanese writing without having to commit themselves to the daunting task of studying the language. Now he has provided us with a valuable guide to that literature. This kind of editorial work involves not only an ability to see the larger picture and then carefully map it out, but also a willingness to persuade and cajole (and possibly threaten?) colleagues and graduate students to drop what they are doing and write in general terms for the benefit of a much larger audience. This is by no means an easy task, particularly now when such work, vital though it is, counts for very little in the academic asylum we seem to have created for ourselves. The Cambridge History of Japanese Literature has been a long time coming and has defeated the efforts of two previous editors, which goes to show how difficult it is to bring projects like these to a successful conclusion. Shirane deserves thanks, praise, and appreciation for finally bringing it off. His ability to twist arms remains unrivaled. How does one cover such a subject in one volume and how does one design it? There is, of course, a plethora of Japanese examples to follow, but writing for a non-Japanese audience demands a different approach. The decision to eschew longer, descriptive essays in favor of fairly short, clearly defined entries was, I think, a wise one, because it avoids the temptation to make bland generalizations, and it concentrates the mind. The average length of an entry turns out to be less than ten pages, which might be thought to have been too constricting, but in fact it works in favor of a much-underrated quality, that of conciseness. We are therefore given no less than 80 tightly constructed essays that cover everything from the Kojiki to keitai shōsetsu, written by 67 contributors, each a specialist in his or her field. One can, of course, always cavil about what has and has not been covered, but this is a totally reliable work that can certainly claim to be comprehensive. The long stretch from the eighth century to the present day has been divided into five main sections—Ancient, Heian, Medieval, Edo, and Modern—each [End Page 249] prefaced by an introduction which sets out the context for what is to follow. It should be said that there is nothing startlingly new or adventurous either about this division or the content of each section, but nor should there be. The role of such a reference book is to offer the present consensus, for one cannot start rearranging or even overturning the apple cart before it has been filled. Not that the content slavishly follows the traditional Japanese scheme; as we shall see, the scope is considerably broader in a number of ways. A quick look at the weight given to each section is quite revealing. Ancient is given 93 pages; Heian 116 pages; Medieval 162 pages; Edo 180 pages; and Modern 209 pages. One must respect editorial decisions, especially when one knows one is in good hands, but at first sight the balance between Ancient and Heian looks heavily skewed in favor of the former, with Man’yōshū, for example, commanding a full 35 pages compared to a mere 10 for Genji monogatari. This may be justified given the unusual prominence afforded waka throughout Japan’s long literary tradition, but it points up an awkward problem that all such literary histories inevitably...

Merging to Emerge: Elite Insecurity, Collective Supports, and Paratextual Anthologies in Early Modern China

Liu Xuehu meipu was designed to be a manual on the painting of plum blossoms; however, its original pedagogical content is demonstrably marginal, while the majority of its pages are filled with more than two hundred commentaries, letters, encomiums, and poems extolling the talent and virtue of its author, Liu Shiru (act. 16th c.). This was not the only volume of its type in late Ming China. A prolific scholar-publisher of Jiaxing, Zhou Lüjing (1542-1633), also published a series of anthologies which only contain hundreds of allographic writings dedicated to him by contemporary elites, including many cultural luminaries such as Li Rihua (his nephew), Chen Jiru, Dong Qichang, Tu Long, and Wang Shizhen. While highlighting the unique programs of these books wherein the auxiliary paratexts of encomiums, endorsements, and postfaces in fact function as primary texts, this paper will investigate how such anthologies were related within the larger cultural matrix of the time.

Technomilitary Fantasy in the 1980s

In America in the 1980s, a group of sf authors played a role in the development of influential policies and technologies, including Ronald Reagan's Strategic Defense Initiative (SDI). Guided by writers such as Jerry Pournelle and Larry Niven, they formed an advocacy group, the Citizens Advisory Council on National Space Policy, in order to undermine the Cold War policy of mutually assured destruction (MAD) and support the development of new technologies capable of weaponizing space as a means to protect the American homeland. While their political involvements have been explored in some detail elsewhere, this article aims to outline the discursive formation their various fictions helped generate—a formation I term technomilitary fantasy—and argues that their contributions as writers and editors of military sf, particularly with the series of anthologies There Will Be War (1983-1990), helped define a popular way of imagining technology in that period. That concept can be called instrumentalism, and...

Collected Sacred Choral Works , and: Oche Nahs = Our Father, no. 12 from Liturgy of St. John Chrysostom , and: A Wondrous Birth = Stránnoye Rozhdestvó vídevshe, no. 7 from A Wondrous Birth (review)

Alexandre Gretchaninoff. Collected Sacred Choral Works. Introductory articles by Vladimir Morosan and Marina Rakhmanova. (Monuments of Russian Sacred Music, ser. VII, vol. 2.) San Diego, CA: Musica Russica, 2009. [Portrait & facsimile, 2 p.; From the Editor, in Eng., Rus., p. xv; The Sacred Choral Legacy of Alexandre Gretchaninoff, in Eng., Rus., p. xvii-xlv; score, p. 3-373; crit. notes, p. 377-88; The Russica [TM] Transliteration System, p. 389-90. ISBN 978-0-9701767-2-1. $95.] Constantine Shvedov. Otche Nahs = Our Father. No. 12 from Liturgy of St. John Chrysostom, op. 16. San Diego, CA: Musica Russica, 2011. [Editor's notes, p. 2; score, p. 3-7. Pub. no. Sh 027. $1.85.] Georgy Sviridov. A Wondrous Birth = Strannoye Rozhdestvo videvshe. No. 7 from A Wondrous Birth. (Choral Music of Russia.) San Diego, CA: Musica Russica, 2011. [English text, p. 2; score, p. 3-19; notes, p. 20. Pub. no. CMR 010-7. $2.90.] Since its inception in the 1980s, the firm of Musica Russica, with its musically very talented founding editor-in-chief Dr. Vladimir Morosan, has been dedicated to publishing and distributing Russian sacred choral music. The result has been the issue of an invaluable series of anthologies that has included the complete sacred works of Tchaikovsky (ser.II, vols. 1/2/3). Rimsky-Korsakov (ser. III), Viktor Kalinnikov (ser. VIII), and Rachmaninoff (ser. IX. vols.1/2). with an important additional volume given over to an early figure in Russian church music composition, Vasily Titov and the Russian baroque (ser. XIII. Historical Editions. vol. I). Each volume is a balanced amalgam of musical score and sound scholarship. The collected sacred choral compositions of the very long-lived Rimsky-Korsakoy sludent, Alexandre Greichaninoff (1864-9561), comprise ser. VII. vol. 2. No expense has been spared in the production of this deluxe volume, which has been crafted of the finest materials available in the publishing industry: hardcovered. hand-sewn, with gold-embossed tiding in both Russian and English. with carefully set music printed on the finest heavygrade paper. Accessible to both scholar and performer alike, each volume in the series--and this one is no exception--has been provided with a thoroughly researched scholarly introduction and copious notes in both Russian and English that serve to place the composer in his historical context and provide details of his musical evolution. The musical scores that follow are painstakingly set and provided with Russian/ Church Slavonic texts and Roman transliteration underlay. with English translations provided. For the Gretchaninoff volume, the Russian-langtrage notes have b en coauthored by editor Morosan in collaboration with the eminent Russian musicologist Marina Rachmanova. followed by its English translation by Dimitry Shapovalov and Morosan himself. The first part is a concise description. jointly written by Morosan and Rachmanova. of Gretchaninoff's sacred concertos and numbers for the All-Night Vigil, with the second part given over to a detailed analysis written by Rachmanova alone of his Passion Week music. All works presented are early. having been composed during the period between 1898 and 1912, evidently a high-water mark for Gretchaninoff fOR sacred music composition. during which time the composer reached his stride. The musical selection that follows is divided into four large sections according to Function and placement in the Orthodox lituroical cycle, and date of composition: (1) a set. of four sacred concertos, a genre that figured prominently in the composer's output from very early on; (2) individual hymns from the All-Night Vigil (combined Vespers and Matins): (3) his opus 58 music for Passion Week (13 numbers); and (4) the composer's opus 59 All-Night Vigil service (Icn numbers). Rounding off thy volume are three bilingual appendices that include critical notes. the unison chants that served as the compositional bases for the choral settings, and the system of Roman transliteration employed in the series. …

The Truth a Poet Can Tell

The Truth a Poet Can Tell Monique Roussel My father is a poet. He composes sonnets from behind the wheel of a school bus, although he does not know they are sonnets. His is the poetry of two wives: one, a jezebel, the second a nurse to his stroke. It is the poetry of too much drink, a shortness of breath, then the grip of God’s hand about the throat, and a falling. Swaying in his bus driver’s seat like Keats in a reverie, he sings the verses of his life like psalms, prayers to the Roman Catholic God of damnation, of the wagging calloused finger that lifted his bloated carcass into a silver wheelchair. When he was taken in this way, Mother told me to rejoice. They wheeled him before my tender little body, a crumpled figure in a plaid shirt, his face moon-like with the ever-present sag of remorse, his hands and feet shackled to the rolling chair, Aunt Irene standing beside him in a pale yellow dress tall as a column, her hair red as fire. My father’s life is a poem, large and aching as his hands after fixing an engine, big and swelled, bleeding and calloused as Christ’s. Monique Roussel is a producer, writer, and sometime radio talk-show panelist on SiriusXM and WBAI 99.5 fm. She holds a master’s in creative writing and English literature from New York University. Her work has appeared in Conclave Literary Journal, Naugatuck River Review, the Tulane Review, and the Labletter Annual Journal of Art and Literature, among others. She also has work upcoming in Like a Fat Gold Watch, an anthology celebrating the life and work of Sylvia Plath. She is the recipient of a 2010 Conclave Literary Journal Award for Poetry. Ultimate Guide to Science Fiction (2d ed., 1995), is chockablock with mini-essays on around 3,500 books (!). Anyone who isn’t seduced by at least a few dozen of Pringle’s entries should probably seek literary sustenance beyond the fields of sf. The importance of novels notwithstanding, sf authors have always introduced and refined new ideas, themes, and ways of telling stories in shorter forms. Since 1953 readers have voted Hugo awards to fiction they consider the year’s best, and the series of anthologies The Hugo Winners (1962, 1971, 1994, 1997) represent their view of the finest short fiction the field has produced . The Science Fiction and Fantasy Writers of America, a professional organization, began voting the similarly intended Nebula awards in 1966, and annual collections of nominated and Nebula-winning fiction have appeared ever since. To complement these, SFWA members chose the best short stories and novellas published before 1965 and have generated the multivolume Science Fiction Hall of Fame (1971, 1974, 1982, 1986). But the best of all possible ways into sf is to read it in the company of a savvy, lucid expert. In 1970 sf author Robert Silverberg organized a cadre of commentators (mostly, other sf writers) to elucidate thirteen first-rate stories from 1897 through the late 1960s. Silverberg’s The Mirror of Infinity was, for me, a revelation; it changed forever how I thought about sf. In 2010 a worthy successor finally appeared: The Wesleyan Anthology of Science Fiction (see WLT, Sept. 2011, 68). Editors Arthur B. Evans, Istvan CsicseryRonay Jr., Joan Gordon, Veronica Hollinger, Rob Latham, and Carol McGuirk provide insights into the nature, history, and reading of sf via commentary on fifty-two exemplary stories. Now that’s a companion to cherish. Norman, Oklahoma july– august 2012 41 photo : brian dalthorp ...

The Truth a Poet Can Tell

The Truth a Poet Can Tell Monique Roussel My father is a poet. He composes sonnets from behind the wheel of a school bus, although he does not know they are sonnets. His is the poetry of two wives: one, a jezebel, the second a nurse to his stroke. It is the poetry of too much drink, a shortness of breath, then the grip of God’s hand about the throat, and a falling. Swaying in his bus driver’s seat like Keats in a reverie, he sings the verses of his life like psalms, prayers to the Roman Catholic God of damnation, of the wagging calloused finger that lifted his bloated carcass into a silver wheelchair. When he was taken in this way, Mother told me to rejoice. They wheeled him before my tender little body, a crumpled figure in a plaid shirt, his face moon-like with the ever-present sag of remorse, his hands and feet shackled to the rolling chair, Aunt Irene standing beside him in a pale yellow dress tall as a column, her hair red as fire. My father’s life is a poem, large and aching as his hands after fixing an engine, big and swelled, bleeding and calloused as Christ’s. Monique Roussel is a producer, writer, and sometime radio talk-show panelist on SiriusXM and WBAI 99.5 fm. She holds a master’s in creative writing and English literature from New York University. Her work has appeared in Conclave Literary Journal, Naugatuck River Review, the Tulane Review, and the Labletter Annual Journal of Art and Literature, among others. She also has work upcoming in Like a Fat Gold Watch, an anthology celebrating the life and work of Sylvia Plath. She is the recipient of a 2010 Conclave Literary Journal Award for Poetry. Ultimate Guide to Science Fiction (2d ed., 1995), is chockablock with mini-essays on around 3,500 books (!). Anyone who isn’t seduced by at least a few dozen of Pringle’s entries should probably seek literary sustenance beyond the fields of sf. The importance of novels notwithstanding, sf authors have always introduced and refined new ideas, themes, and ways of telling stories in shorter forms. Since 1953 readers have voted Hugo awards to fiction they consider the year’s best, and the series of anthologies The Hugo Winners (1962, 1971, 1994, 1997) represent their view of the finest short fiction the field has produced . The Science Fiction and Fantasy Writers of America, a professional organization, began voting the similarly intended Nebula awards in 1966, and annual collections of nominated and Nebula-winning fiction have appeared ever since. To complement these, SFWA members chose the best short stories and novellas published before 1965 and have generated the multivolume Science Fiction Hall of Fame (1971, 1974, 1982, 1986). But the best of all possible ways into sf is to read it in the company of a savvy, lucid expert. In 1970 sf author Robert Silverberg organized a cadre of commentators (mostly, other sf writers) to elucidate thirteen first-rate stories from 1897 through the late 1960s. Silverberg’s The Mirror of Infinity was, for me, a revelation; it changed forever how I thought about sf. In 2010 a worthy successor finally appeared: The Wesleyan Anthology of Science Fiction (see WLT, Sept. 2011, 68). Editors Arthur B. Evans, Istvan CsicseryRonay Jr., Joan Gordon, Veronica Hollinger, Rob Latham, and Carol McGuirk provide insights into the nature, history, and reading of sf via commentary on fifty-two exemplary stories. Now that’s a companion to cherish. Norman, Oklahoma july– august 2012 41 photo : brian dalthorp ...

Байкальская Сибирь: Фрагменты социокультурной карты. Альманах-исследование ред. по М. Я. Рожанского, и Байкальская Сибирь: Предисловие XXI века. Альманах-исследование ред. по М. Я. Рожанского (review)

Байкальская Сибирь: Фрагменты социокультурной карты. Альманах-исследование ред. по М. Я. Рожанского, и Байкальская Сибирь: Предисловие XXI века. Альманах-исследование ред. по М. Я. Рожанского (review)

Society, Ethics, and Technology, 4th Edition (Winston, M.E. and Edelbach, R.D.; 2009) [Book Review

The book is one of a longstanding series of humanities anthologies issued by Wadsworth that I fi rst encountered a decade ago in Louis Pojman?s compilation of classic philosophy texts, The Quest for Truth. But in contrast to Plato and Aristotle, the fi elds of ethics and science and technology studies simply won?t stand still, so publishers are justifi ed in bringing out new editions in this area every few years. The mix of papers and essays in this collection strikes a good balance between relatively timeless and historical material on the one hand, and up-to-date topical discussions of current topics such as globalization, genetic engineering, and climate change on the other. This anthology began with a course the authors developed in 1993 at the College of New Jersey, assisted by NSF support for the fi eld of science and technology studies. The book is divided into two parts: Perspectives on Technology, which carries works on the history, politics, and ethics of technology in general; and Contemporary Technology and the Future, focused on five topical areas. The typography and layout of the book follow the pleasing well-established Wadsworth style. I detected a few signs of haste in copyediting: a typo here and there, and, most seriously, a place where apparently an entire page of references was left out. Considering that the office of proofreader was abolished by most publishers somewhere around 1995, this book is still better than average in its freedom from errors.

読むことの学習指導における「学習のてびき」の一源流 : E. A. クロス編『文学 : アンソロジーシリーズ』を中心に

A purpose of this paper is to investigate on source of for in Junior high school Japanese language classes of Hama Ohmura, an excellent secondary Japanese teacher. In order to Ohmura's testimony, her guides for learning were influenced by any American textbooks and workbooks for English language in 1940s-50s. One series of textbooks, Literature: a series of anthologies (A. E. Cross et.al eds.), which is one of American Educational Library collections, founded in Hiroshima University Library, was analyzed in this paper. By comparing the study questions in textbooks with Ohmura's guides for learning in her practical reports, any considerations were founded. At least, Literature: a series of anthologies seemed to give any hints for guides for learning by Ohmura, however, it would be not a only source of it, but also any other textbooks an workbooks used in USA would give any cues for generating Ohmura's ideas of guides for reading in 1950s. In addition, Such considerations in this paper would give a significant starting point for investigating a post-WW2 history of Japanese language textbooks and instructions.

Los textos de la patria: Nacionalismo, políticas culturales y canon en Argentina (review)

Reviewed by: Los textos de la patria: Nacionalismo, políticas culturales y canon en Argentina Sergio Waisman Fernando Degiovanni . Los textos de la patria: Nacionalismo, políticas culturales y canon en Argentina. Rosario: Beatriz Viterbo Editora, 2007. 380 pgs. Fernando Degiovanni's Los textos de la patria is an insightful study of two major collections of Argentine classics published in that country in the early twentieth century: la Biblioteca Argentina (1915–1928, edited by Ricardo Rojas) and La Cultura Argentina (1915–1925, edited by José Ingenieros). Both of these sought to promote competing versions of national identity through projects of canon formation. In his thoroughly-researched book, Degiovanni explores the relationship between these collections, their systematic efforts to impose a national canon, and the resulting, fascinating battle over a definition of "la argentinidad." Both Rojas and Ingenieros, as Degiovanni shows, undertook their respective nationalist projects through the conscious retro-active reconstruction of past Argentine texts as the tradition, as each would have it. As Degiovanni states in his introduction: "El abordaje de las series populares retrospectivas lleva a cuestionar las más asumidas certezas sobre el desarrollo y el alcance de las políticas culturales nacionalistas y promueve la revisión de las perspectivas de análisis utilizadas en el abordaje del proceso de canonización en Argentina" (15). In addition to the excellent historical, political, and cultural contextualization that Degiovanni provides, one of the most interesting ideas that emerges from his analysis is the role—or perhaps the end goal—of nationalism in both Rojas' and Ingenieros' projects, as the vastly different and in many ways opposing thinkers were explicitly concerned with the formation of future national subjects through their specific reformulation of past texts. By bringing Ingenieros and his project into the picture, Degiovanni sheds new light on an otherwise fairly well-covered period. Inserting in his critical discussion a consideration of the very strategic program designed by Ingenieros, Degiovanni shows that: "una materialidad diferente y olvidada permite modificar sustancialmente la mirada dirigista . . . que ha dominado las explicaciones del período, dando lugar a la emergencia de un nuevo sistema de relaciones culturales en que ideas y objetos se cruzan y despliegan en un complejo campo de luchas" (17). Degiovanni's study of Ingenieros' La Cultura Argentina side-by-side with Rojas' la Biblioteca Argentina challenges the pre-established hypothesis that the period immediately following the Argentine Centenary (1910) is one of stabilization and consecration of a cultural nationalism based on a literary foundation closely linked to the policies of the State. The picture that emerges, instead, is one of a zigzagging series of conflicts enacted over the past—through the manipulation and presentation of texts, in a struggle to define the nation's tradition and canon—that serve to account for the ideological variations of Argentina's cultural nationalism (331). In the nineteenth century, processes of canon formation—always closely [End Page 526] connected to conceptions of the nation and of national identity—were enacted primarily through the limited-edition publication of poetry anthologies organized by established men of letters. As Degiovanni correctly points out, the cultural construction and objectives of these are quite distant from those in our own moment in time, or even from those of the early twentieth century (25). In Chapter 1, "Un siglo de antologías: canon y nación de la Emancipación al Centenario," Degiovanni illustrates this contrast as he traces a series of anthologies from 1824 to 1910. The most interesting section of this chapter focuses on the Antología de poetas hispano-americanos (1892–1894) edited by Menéndez Pelayo, and its subsequent influence on the Argentine cultural landscape, primarily in the form of several strong reactions against the esteemed Spaniard's imperialistic view of the literature of and language in Spain's former colonies. In Chapter 2, "Estado, inmigración y democracia: La Biblioteca Argentina de Ricardo Rojas," Degiovanni analyzes the development of Rojas' thought and ideology leading up to and including the period encompassed in the publication of la Biblioteca Argentina. Degiovanni studies which texts Rojas included in his collection, as well as Rojas' manipulation of these in the creation of a conservative nationalist tradition. Rojas...

Forty Years on: Touchstones Now

The Touchstones series of poetry anthologies was first published in the UK between 1968 and 1972 in five volumes. Over a million copies and three revisions later, Touchstones Now 11–14 appeared in the summer of 2008. Few, if any, books for the classroom can claim such longevity. In this article, the compilers of the anthologies, Michael and Peter Benton, look back over the 40 years of the series’ life. They reflect upon the principles which have guided their choices; and the social and political pressures, often exerted by governments, which they have confronted in their attempt to help school students become enthusiastic, committed and discriminating readers of poetry.

Reading Aesthetics and Philosophy of Art: Selected Texts with Interactive Commentary

READING Aesthetics and Philosophy of Art (hereafter RAPA) is one of four new titles in an intriguing series of anthologies from Blackwell that began with Reading Philosophy: Selected Texts with a Method for Beginners (ed. S. Guttenplan, J. Hornsby, and C. Janaway, 2002). The new titles include Reading Epistemology, Reading Metaphysics, and Reading Philosophy of Language. The unique feature of this series—the ‘Method for Beginners’—is the interactive design of the commentaries. The primary readings are sprinkled throughout with marginal markers that are used within the commentaries to refer back to specific lines of the text, the goal being to lure the reader into actively engaging with the text. Each chapter of RAPA is built around a theme, and each theme is explored through two primary readings (it is interesting to note that the selection of both themes and philosophers is not run of the mill): first, ‘Art, Value, and Philosophy’ (Plato and Nietzsche); second, ‘Aesthetics, Art, and Nature’ (Carroll and Hepburn); third, ‘Aesthetic Judgments’ (Hume and Kant); fourth, ‘The Nature of Art’ (Collingwood and Dickie); fifth, ‘Authors and Works’ (Barthes and Danto); sixth, ‘Depiction in Art’ (Goodman and Wollheim). Some of Christopher Janaway's choices in excerpting are also noteworthy; for example, the Collingwood selection is not the standard excerpt on craft from chapter 2 of The Principles of Art. Instead, we find excerpts from his chapter 6 on expression, and from chapter 7 on imagination, culminating in a portion of Collingwood's interesting section, ‘The Work of Art as an Imaginary Object’.

Women Writing Africa. Vol. 1 : The Southern Region (review)

Women Writing Africa: Southern Region. Edited by M.J. Daymond, Dorothy Driver, Sheila Meintjes, Leloba Molema, Chiedza Musengezi, Margie Orford and Nobantu Rasebotsa. Women Writing Africa Project, Volume 1. New York: Feminist Press at the City University of New York, 2003. Pp. xxx, 554. $29.95 paper. Women Writing Africa: Southern Region is the first in a projected series of regional anthologies of women's texts for the continent, produced by Women Writing Africa Project of the Feminist Press, with support from the Ford and Rockefeller Foundations. It contains a broadly defined range of print and oral texts rendered in print-including historical and legal documents, songs, praise poems, oral narratives, fiction, poetry, journal entries, and much more-all produced by and having to do with African women. The project has been undertaken with the expectation that the publication of these texts will allow for new readings of African women's history (p. ii). texts certainly promise more fully gendered perspectives in Southern African history. Issues of coverage and organization are basic considerations for any anthology, so that is where we begin. Although the cover and title page carry the subtitle, The Southern Region, it is taken to mean Botswana, Lesotho, Swaziland, Namibia, South Africa, and Zimbabwe. Mozambique was probably excluded-despite sharing borders and peoples with Swaziland, South Africa, and Zimbabwe-because it was part of the Portuguese rather than the British colonial empire. Colonial divisions thus persevere. Uneven coverage is probably inevitable given the diversity of populations, academic traditions, and publishing opportunities in the region, but it is nonetheless startling to see only three authors from Lesotho where editor David Coplan has done such extensive work, and only two authors from Swaziland. South Africa, appropriately on the basis of population alone, leads with more than 60 authors, followed by Namibia with less than half that number, Botswana with 23, and Zimbabwe on the light side with 18. 120 entries were harvested from existing publications or archives and are arranged chronologically. Each is introduced by a headnote providing context and commentary. An anonymous of the afflicted from Lesotho opens the collection. title and table of contents date the song 1842, although the headnote tells us that it was collected by Thomas Arbousset in 1836. remaining 16 entries for the nineteenth century date from mid-century to the 1890s and cover only South Africa, Namibia, and Lesotho. Coverage of the twentieth century is weighted toward the later decades: 10 entries for the period 1900 to 1918, 24 between 1921 and 1959, 22 for the 1960s and 1970s, 17 for the 1980s, and 30 for the 1990 to 2001-more than twice as many entries for the last four decades of the century than for the first six. book's preface provides a very detailed explanation of the process. 54-page introduction with nearly 30 pages of notes and bibliography does much more than provide guideposts for the texts that follow. Notes on the contributing editors, associate editors, translators, and headnote writers, permissions, and indices close out the last 30 pages. material is conveniently and professionally presented, and reasonably priced for classrooms and personal libraries. There you have the necessary but least interesting information about the book. This is a fine effort to bring together a rich range of women's perspectives. introductory essay raises theoretical issues for specific kinds of texts and repeats the appropriate, if now standard, cautions about silences, appropriation, translation, responsible and accountable engagement, and the limitations of print presentation. …