Babbitt, Charles J. Hand-List of Legislative Sessions and Session Laws Statutory Revisions, Compilations, Codes, Etc., and Constitutional Conventions of the United States and its Possessions and of the Several States to May, 1912. [Boston]: The Trustees of the State Library of Massachusetts, [1912]. 634 pp. Reprinted 2003 by The Lawbook Exchange, Ltd. LCCN 2002041289. ISBN 1-58477-293-X. Cloth. $125. * A hand-list of statute law defining the location of the text of every legislative session that has occurred in the United States and its possessions to 1912, including every volume containing session laws or revisions and compilations of laws. Compiled for the State Library of Massachusetts by Charles J. Babbitt under the direction of Charles F.D. Belden, the State Librarian at the time of the compilation. The historical and bibliographic details provided include a synopsis of the political situation that warranted the statute when applicable, as well as format and collation of the noted volume.

The final iteration of Rainer's dance rant A Truncated History of the Universe for Dummies, accompanied by texts offering a real-time account of Rainer's creative process. Choreographer and filmmaker Yvonne Rainer has long investigated the ways in which movement can be a political act in and of itself—on the stage, on the screen, or at the lectern. In Revisions, Rainer pushes her interest in embodied activism to a new arena: what she calls the “dance rant.” This volume includes the final iteration of Rainer's latest dance rant, entitled A Truncated History of the Universe for Dummies. This performance piece evolved in live presentations in Dublin, Stockholm, and New York before being expanded and adapted in written form here. In this now-completed work, Rainer mobilizes her rage and bafflement at contemporary political events through the guise of Apollo, Leader of the Muses. Revisions also includes a compilation of emails and diary entries that provide a real-time account of Rainer's process of creating and workshopping a dance. “Pedagogical Vaudeville 3” reveals Rainer's consistent interest in reworking and reconsidering material across multiple mediums, formats, and contexts, and offers an unique glimpse at the working methods of one of this century's preeminent dance artists. Bookended with an introduction by artist and scholar Gregg Bordowitz and an analysis of Rainer's AG Indexical with a Little Help from H. M. by dance historian Anna Staniczenko, these texts serve not only as a revision of the conventional understanding of five decades of Rainer's production, but also as a timely manual for performance as an act of resistance.

Leading American and British textual editors respond to the recent radical overhaul in the editing of Romantic texts in the light of developments in critical theory.

A writer of mediocre biographies, Nathan lives devoid of experience and isolated from the few people he loves. Reading the obituary of Daltry Truitt 'a man whose life is marked with no accomplishment- Nathan decides to compose an abstract biography of the man: one that is to be composed only of the words that Truitt set down to paper throughout his life. Obsessive in the details of his task but dispassionate toward having it completed, Nathan begins seeking out Truitt's family and rifling through the invoices the man filled out at his job, while becoming increasingly disconnected from the stable elements of his life.

Why are twentieth-century novelists from former British colonies in the Americas preoccupied with British Romantic poetry? In Romantic Revisions, Lauren Rule Maxwell examines five novels—Kincaid's Lucy, Atwood's The Handmaid's Tale, McCarthy's Blood Meridian, Fitzgerald's The Great Gatsby, and Harris's Palace of the Peacock—that contain crucial scenes engaging British Romantic poetry. Each work adapts figures from British Romantic poetry and translates them into an American context. Kincaid relies on the repeated image of the daffodil, Atwood displaces Lucy, McCarthy upends the American arcadia, Fitzgerald heaps Keatsian images of excess, and Harris transforms the albatross. In her close readings, Maxwell suggests that the novels reframe Romantic poetry to allegorically confront empire, revealing how subjectivity is shaped by considerations of place and power. Returning to British Romantic poetry allows the novels to extend the Romantic poetics of landscape that traditionally considered the British subject's relation to place. By recasting Romantic poetics in the Americas, these novels show how negotiations of identity and power are defined by the legacies of British imperialism, illustrating that these nations, their peoples, and their works of art are truly postcolonial. While many postcolonial scholars and critics have dismissed the idea that Romantic poetry can be used to critique colonialism, Maxwell suggests that, on the contrary, it has provided contemporary writers across the Americas with a means of charting the literary and cultural legacies of British imperialism in the New World. The poems of the British Romantics offer postcolonial writers particularly rich material, Maxwell argues, because they characterize British influence at the height of the British empire. In explaining how the novels adapt figures from British Romantic poetry, Romantic Revisions provides scholars and students working in postcolonial studies, Romanticism, and English-language literature with a new look at politics of location in the Americas.

This book offers reflections of the representations of the Indian diaspora of Malaysia according to two spectrums, colonial and postcolonial. It takes seed from the belief that any engagement with the Indian diasporic experience in Malaysia must take into account the role of the pioneer Indian immigrants who carved the niche of existence for the overseas Indian on Malayan soil. It begins by tracing their presence within the terrain of colonial narratives to uncover, not only the ways in which they were subordinated to colonial ideological discourses but also, and more significantly, the suppressed story of coolie resistance that lies under the weight of such masks of conquest. It then moves on to show how postcolonial revisioning is able to reconstruct the Indian immigrants of Malaya as choreographers of the diasporic identity that they have left as the most significant legacy for contemporary Malaysian Indians. This book ultimately reveals the politics of Malaysian Indian identity from colonised to globalised grounds, and the ways in which the subaltern spaces of the former can be reclaimed and reterritorialised in the latter.

The book examines the critical use of biblical and early Christian traditions in such Christian-Gnostic texts as the Apocryphon of John, The Nature of the Archons, The Apocalypse of Adam, The Testimony of Truth, The Apocalypse of Peter, The Letter of Peter to Philip, and the apocryphal Acts of John.

These new essays explore the ways in which contemporary dramatists have retold or otherwise made use of myths, fairy tales and legends from a variety of cultures, including Greek, West African, North American, Japanese, and various parts of Europe. The dramatists discussed range from well-established playwrights such as Tony Kushner, Caryl Churchill, and Timberlake Wertenbaker to new theatrical stars such as Sarah Ruhl and Tarell Alvin McCraney. The book contributes to the current discussion of adaptation theory by examining the different ways, and for what purposes, plays revise mythic stories and characters. The essays contribute to studies of literary uses of myth by focusing on how recent dramatists have used myths, fairy tales and legends to address contemporary concerns, especially changing representations of women and the politics of gender relations but also topics such as damage to the environment and political violence.