There are thousands of books that represent the Holocaust, but can, and should, the act of reading these works convey the events of genocide to those who did not experience it? In Textual Silence, literary scholar Jessica Lang asserts that language itself is a barrier between the author and the reader in Holocaust texts—and that this barrier is not a lack of substance, but a defining characteristic of the genre. Holocaust texts, which encompass works as diverse as memoirs, novels, poems, and diaries, are traditionally characterized by silences the authors place throughout the text, both deliberately and unconsciously. While a reader may have the desire and will to comprehend the Holocaust, the presence of “textual silence” is a force that removes the experience of genocide from the reader’s analysis and imaginative recourse. Lang defines silences as omissions that take many forms, including the use of italics and quotation marks, ellipses and blank pages in poetry, and the presence of unreliable narrators in fiction. While this limits the reader’s ability to read in any conventional sense, these silences are not flaws. They are instead a critical presence that forces readers to acknowledge how words and meaning can diverge in the face of events as unimaginable as those of the Holocaust.

In this pathbreaking book, King-Kok Cheung sheds new light on the thematic and rhetoncal uses of silence in fiction by three Asian American women: Hisaye Yamamoto, Maxine Hong Kingston, and JoyKogawa. Boldly articulating the unspeakable, these writers break the silence imposed by families or ethnic communities and defy the dominant culture that suppresses the voicing of minority experiences. Yet at the same time, they demonstrate how silences—voiceless gestures, textual ellipses, authorial hesitations—can themselves be articulate. Drawing on theoretical works on women's writing, on ethnicity and race, and on postmodernism and history, Cheung takes issue with Anglo-American feminists who valorize speech unequivocally and with revisionist Asian American male critics who attempt to refute Orientalist stereotypes by renouncing silence. She challenges Eurocentric views of speech and silence as polarized, hierarchical, and gendered, and proposes an approach to Asian American literature which overturns the "East-West" or "dual personality" model. Yamamoto, Kingston, and Kogawa interweave speech and silence, narration and ellipses, autobiography and fiction as they adapt and recast Asian and Euro-American precursors. Drawing freely from both traditions, they reinvent the past by decentering, disseminating, and interrogating authority-but not by reappropriating it. A fresh and subtle response to issues relating to cultural diversity, Articulate Silences will be important reading for scholars and students in the fie,4s of literary theory and criticism, women's studies, Asian American studies, and ethnic studies.

Whether a conscious choice or constraint, silence has always been the result of oppression, censorship, trauma, and mental or physical handicap. Its provocative and mysterious nature has always motivated readers and critics towards interpretation. The present volume offers to read and interpret silence – unexpressed emotions, thoughts, hesitations and gestures – on mainly a textual and verbal level. How is the pervasive presence of silence explained in literature and linguistics? The collected scholarly essays in this volume offer a wide range of answers. The majority of the writings are literary critical in nature, focusing on major and less well-known literary texts from the Renaissance until the twentieth century. The authors approach the works of Spenser, Shakespeare, Shelley, Dickinson, Wright, Auster, Tan and Ishiguro among others, as well as less well-known, silent or silenced authors and their texts with equal dedication. Other essays included in the volume either deal with the problem of translating gaps and hiatuses or focus on capturing the phenomenon of silence in speech, through analyzing ellipsis, emptiness and hesitations in spoken language. The controversial and manifold aspects of silence are captured and interpreted in this volume.

Your Silence Will Not Protect You collects the essential essays and poems of Audre Lorde for the first time, including the classic 'The Master's Tools Will Never Dismantle the Master's House'. A trailblazer in intersectional feminism, Lorde's luminous writings have inspired a new generation of thinkers and writers charged by the Black Lives Matter movement. Her lyrical and incisive prose takes on sexism, racism, homophobia, and class; reflecting struggle but ultimately offering messages of hope that remain ever-more trenchant today. Also a celebrated poet, Lorde was New York State Poet Laureate until her death; her poetry and prose together produced an aphoristic and incomparably quotable style, as evidenced by her constant presence on many Women's Marches against Trump across the world. This beautiful edition honours the ways in which Lorde's work resonates more than ever thirty years after they were first published.

Mark C. Taylor explores the many variations of silence by considering the work of leading visual artists, philosophers, theologians, writers, and composers. “To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”

This book uses six canonical novelists and their recreations in a variety of media to argue a reconceptualisation of our approach to the study of adaptation. The works of Balzac, Hugo, Flaubert, Zola, Maupassant and Verne reveal themselves not as originals to be defended from adapting hands, but as works fashioned from the adapted voices of a host of earlier artists, moments and media. The text analyses reworkings of key nineteenth-century texts across time and media in order to emphasise the way in which such reworkings cast new light on many of their source texts, and how they reveal the probing analysis nineteenth-century novelists undertake in relation to notions of originality and authorial borrowing. Adapting Nineteenth-Century France charts such revision through a range of genres encompassing the modern media of radio, silent film, fiction, musical theatre, sound film and television. Contents Introduction, Kate Griffiths I Labyrinths of Voices: Emile Zola, Germinal and Radio, Kate Griffiths II Diamond Thieves and Gold Diggers: Balzac, Silent Cinema and the Spoils of Adaptation, Andrew Watts III Fragmented Fictions: Time, Textual Memory and the (Re)Writing of Madame Bovary, Andrew Watts IV Les Misérables, Theatre and the Anxiety of Excess, Andrew Watts V Chez Maupassant: The (In)Visible Space of Television Adaptation, Kate Griffiths VI Le Tour du monde en quatre-vingts jours: Verne, Todd, Coraci and the Spectropoetics of Adaptation, Kate Griffiths Conclusion, Andrew Watts

Can the categories of classical Lutheran Christology be unleashed to express the vitality of christological existence, an existence situated between Promise and experience? If, as Martin Luther famously asserted in his Heidelberg Disputation (1518), "true theology and recognition of God are in the crucified Christ," then such a theological point of departure not only bore radical implications for his Christology, but indeed also bears profound significance for theological discussions around the Word of Promise, its structure, its experience, its plurality. With regard to the elaboration of the two natures of Jesus Christ, such a point of departure permits a delineation of Promise--"the body of Promise"--who is bound to, who suffers, the nihil of human existence. Which means: such a point of departure affords us equally the opportunity to consider and probe the implications of the nihil as the medium of both threat and Promise. Is this a promising threat? Or a threatening Promise? Ultimately, Promise is delineated from within hermeneutical origins--the christological function of Scripture, the text--and, developed through to its diverse expression as the body of Promise, translated into christological existence. Within this context, categories of classical Lutheran Christology begin to express new vitality. Along the way, the Word of Promise--as developed within the trajectory of Luther's theology of the cross and his radical delineation of the two natures of Jesus Christ--receives further sharpening within the context of discussion with such theological voices as John Caputo and Jacques Derrida, Hans Holbein the Younger, Albert Schweitzer, Matthias Grunewald, Carl Braaten, Karl Barth, Michael Welker, and Samuel Terrien. Ultimately, we are permitted to confess: There is one Crucified. And he is plural.

Traditions of Writing Research reflects the different styles of work offered at the Writing Research Across Borders conference. Organized by Charles Bazerman, one of the pre-eminent scholars in writing studies, the conference facilitated an unprecedented gathering of writing researchers. Representing the best of the works presented, this collection focuses solely on writing research, in its lifespan scope bringing together writing researchers interested in early childhood through adult writing practices. It brings together differing research traditions, and offers a broad international scope, with contributor-presenters including top international researchers in the field The volume's opening section presents writing research agendas from different regions and research groups. The next section addresses the national, political, and historical contexts that shape educational institutions and the writing initiatives developed there. The following sections represent a wide range of research approaches for investigating writing processes and practices in primary, secondary, and higher education. The volume ends with theoretical and methodological reflections. This exemplary collection, like the conference that it grew out of, will bring new perspectives to the rich dialogue of contemporary research on writing and advance understanding of this complex and important human activity.

This book draws from six years’ work by the Developing Inquiring Communities in Education Project (DICEP) to provide a range of practical, replicable methods for building collaborative communities, in which democratic principles of education may be realized. Recognizing that each classroom is unique in its makeup, its context, and its history, these seasoned teacher-researchers rely heavily on discourse, both spoken and written, to engage students in the active learning process. Their findings are striking and clear, and testify to the exciting potential that dialogic interaction and collaborative knowledge building have for the field of education. Key features of this book are: identification of appropriate research questions; real-life teaching strategies based on extensive hands-on experience in the field; and workable suggestions for facilitating inquiry-based learning and teaching.

Emerging Trends in Third-Generation Holocaust Literature offers fresh approaches to understanding how grandchildren of Holocaust survivors and perpetrators treat their traumatic legacies. The contributors to this volume present a two-fold perspective: that the past continues to live in the lives of the third generation and that artistic responses to trauma assume a variety of genres, including film, graphic novels, and literature. This generation is acculturated yet set apart from their peers by virtue of their traumatic inheritance. The chapters raise several key questions: How is it possible to negotiate the difference between what Daniel Mendelson terms proximity and distance? How can the post-post-memorial generation both be faithful to Holocaust memory and embrace a message of hope? Can this generation play a constructive educational role? And, finally, why should society care? At a time when the lessons and legacies of Auschwitz are either banalized or under assault, the authors in this volume have a message which ideally should serve to morally center those who live after the event.