Contributed articles.

“Post/modern Dracula” explores the postmodern in Bram Stoker’s Victorian novel and the Victorian in Francis Ford Coppola’s postmodern film to demonstrate how the century that separates the two artists binds them more than it divides them. What are the postmodern elements of Stoker’s novel? Where are the Victorian traits in Coppola’s film? Is there a postmodern gloss on those Victorian traits? And can there be a Victorian directive behind postmodernism in general? The nine essays compiled in this collection address these and other relevant questions per the novel and the film at three distinct periods: (post)modern Victorianism, post/modernism, and finally postmodernism. Part I on (post)modernist issues in Stoker’s novel establishes the link between Victorian themes and postmodern praxes that begins with colonialist concerns and ends with poststructuralist signification. Part II looks at the post/modernist traits in Stoker’s Dracula, those obviously influenced by modernism but also, with the help of the novel’s plasticity vis-à-vis the media over the last century, by postmodernism. Part III examines more closely the novel’s postmodern characteristics, particularly with respect to Coppola’s 1992 film, Bram Stoker’s Dracula. Dracula defies time and promises to undermine any critical study of it that precisely tries to situate it within a given epoch, including a postmodernist one. Given its relationship to late-capitalist economy, to post-Marxist politics, and to commodity culture, and given its universal appeal to human fears and anxieties, fetishes and fantasies, lusts and desires, Stoker’s novel will forever remain post/modern—always haunting our future, as it has repeatedly done so our past. Though scholars of Dracula and Gothic literature in general will find some of the essays innovative and engaging per today’s literary criticism, the book is also intended for both an informed general reader and a novice student of the novel and of the film. As such, a few essays are highly specialized in postmodern theory, whereas others are more centered around the sociohistorical context of the novel and film and use various postmodern theories as inroads into the novel’s or the film’s study.

A new look at one of the most important composers of the twentith century Stravinsky and His World brings together an international roster of scholars to explore fresh perspectives on the life and music of Igor Stravinsky. Situating Stravinsky in new intellectual and musical contexts, the essays in this volume shed valuable light on one of the most important composers of the twentieth century. Contributors examine Stravinsky's interaction with Spanish and Latin American modernism, rethink the stylistic label "neoclassicism" with a section on the ideological conflict over his lesser-known opera buffa Mavra, and reassess his connections to his homeland, paying special attention to Stravinsky's visit to the Soviet Union in 1962. The essays also explore Stravinsky's musical and religious differences with Arthur Lourié, delve into Stravinsky's collaboration with Pyotr Suvchinsky and Roland-Manuel in the genesis of his groundbreaking Poetics of Music, and look at how the movement within stasis evident in the scores of Stravinsky's Orpheus and Oedipus Rex reflected the composer's fierce belief in fate. Rare documents—including Spanish and Mexican interviews, Russian letters, articles by Arthur Lourié, and rarely seen French and Russian texts—supplement the volume, bringing to life Stravinsky's rich intellectual milieu and intense personal relationships. The contributors are Tatiana Baranova, Leon Botstein, Jonathan Cross, Valérie Dufour, Gretchen Horlacher, Tamara Levitz, Klára Móricz, Leonora Saavedra, and Svetlana Savenko.

Prospect Top 50 Thinker of 2021 British Academy Book Prize Finalist PROSE Award Finalist “Provocative, elegantly written.” —Fara Dabhoiwala, New York Review of Books “Demonstrates how a broad rethinking of political issues becomes possible when Western ideals and practices are examined from the vantage point of Asia and Africa.” —Pankaj Mishra, New York Review of Books In case after case around the globe—from Israel to Sudan—the colonial state and the nation-state have been constructed through the politicization of a religious or ethnic majority at the expense of an equally manufactured minority. The model emerged in America, where genocide and internment on reservations created a permanent native minority. In Europe, this template would be used both by the Nazis and the Allies. Neither Settler nor Native offers a vision for arresting this process. Mahmood Mamdani points to inherent limitations in the legal solution attempted at Nuremberg. Political violence demands political solutions: not criminal justice but a rethinking of the political community to include victims and perpetrators, bystanders and beneficiaries. Making the radical argument that the nation-state was born of colonialism, he calls on us to delink the nation from the state so as to ensure equal political rights for all who live within its boundaries. “A deeply learned account of the origins of our modern world...Mamdani rejects the current focus on human rights as the means to bring justice to the victims of this colonial and postcolonial bloodshed. Instead, he calls for a new kind of political imagination...Joining the ranks of Hannah Arendt’s Imperialism, Frantz Fanon’s The Wretched of the Earth, and Edward Said’s Orientalism, this book is destined to become a classic text of postcolonial studies and political theory.” —Moustafa Bayoumi, author of How Does It Feel to Be a Problem? “A masterwork of historical comparison and razor-sharp political analysis, with grave lessons about the pitfalls of forgetting, moralizing, or criminalizing this violence. Mamdani also offers a hopeful rejoinder in a revived politics of decolonization.” —Karuna Mantena, Columbia University “A powerfully original argument, one that supplements political analysis with a map for our political future.” —Faisal Devji, University of Oxford

Swami Vivekananda (1863–1902) popularised Vedanta in the West and reformed Hinduism in India. He also inspired the mass movement that made India a modern nation. In showcasing his life and work, this Reader balances the two main aspects of his life: the religious and the secular, the spiritual and the practical, the devotional and the rational. Included here are the most significant and representative texts from every major genre and phase — selections from his speeches, essays, letters, poems, translations, conversations, and interviews — arranged for easy reading and reference. With a scholarly Introduction highlighting his contemporary relevance, separate section introductions and a detailed biographical Chronology, this volume provides a rare insight into one of India’s greatest minds. This volume will interest scholars and students of modern Indian history, religion, literature, and philosophy as well as general readers.

A century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it.

Written at the intersection of culture, politics & the city, particularly in the context of corporate globalization, 'Utopia's Ghost' challenges dominant theoretical paradigms & opens new avenues for architectural scholarship & cultural analysis.

This book argues that integrating artistic contributions – with an emphasis on culture and language – can make Science, Technology, Engineering and Mathematics (STEM) subjects more accessible, and therefore promote creativity and innovation in teaching and learning at all levels of education. It provides tools and strategies for managing interdisciplinary learning and teaching based on successful collaborations between researchers, practitioners and artists in the fields of the Arts and STEM subjects. Based on contributions by educators, scientists, scholars, linguists and artists from around the globe, the book highlights how we can demonstrate teamwork and collaboration for innovation and creativity in STEAM subjects in the classroom and beyond. The book reflects the core of human rights education, using local languages and local knowledge through art as a tool for teaching human rights at school, and bringing to light questions on diversity, ecology, climate change, environmental issues, health and the future of human beings, as well as power relations between non-dominant (minorities) and dominant (the majority) groups in society.

This study focuses on the close connections between literary value and the materiality of popular print artefacts in Britain from 1890-1930. The book demonstrates that the materiality of print objects-paper quality, typography, spatial layout, use of illustrations, etc.-became uniquely visible and significant in these years, as a result of a widely perceived crisis in literary valuation. In a set of case studies, it analyses the relations between literary value, meaning, and textual materiality in print artefacts such as newspapers, magazines, and book genres-artefacts that gave form to both literary works and the journalistic content (critical essays, book reviews, celebrity profiles, and advertising) through which conflicting conceptions of literature took shape. In the process, it corrects two available misperceptions about reading in the period: that books were the default mode of reading, and that experimental modernism was the sole literary aesthetic that could usefully represent modern life.

Marie-Laure Ryan moves beyond literary works to examine other media, especially electronic narrative forms, revealing how story, a form of meaning that transcends cultures and media, achieves diversity by presenting itself under multiple avatars. Ryan considers texts such as the reality television show Survivor, the film The Truman Show, and software-driven hypertext fiction, and anticipates the time when media will provide new ways to experience stories.