TechKnowledgies: New Imaginaries and Transmigrations in the Humanities, Arts, and TechnoSciences is a diverse collection of essays, a recently produced technology play by William Kennedy, art, and installations that represent, and at times resist, the ways science and technology are interacting with the arts and the humanities to produce new imaginaries and disciplinary transmigrations that gesture towards a “university” of tomorrow. As theorists’ posit new futures and call for an end to historically grounded, or discipline-based, so-called silo approaches to knowledges, a de facto reorganization of disciplinary boundaries and a migratory spirit have spontaneously infused the humanities with new life. These transmigrations, instead of diffusing the disciplinary terrain, have strengthened and broadened existing fields. They are provoking re-mappings of intellectual topography, and, ironically, have brought about more rather than less integration. Activated by such massive cultural shifts as the turn from print to visual culture; the technological revolution and its virtual sublimes; the acceleration of scientific advances; the rise and incorporation of mass or popular culture and the possibilities of replication, the humanities are producing integrated knowledges, what we are calling new TechKnowledgies, that interface the humanities, the arts, the social and hard sciences with digital technologies and research emerging at the borders of all these fields.

The Frontier of Writing: A Study of Seamus Heaney’s Prose is the first collection of essays solely focused on examining the Nobel prize winning poet’s prose. The collection offers ten different perspectives on this body of work which vary from sustained thematic analyses on poetic form, the construction of identity, and poetry as redress, to a series of close readings of prose writing on poetic exemplars such as Robert Lowell, Patrick Kavanagh, W.B Yeats, Ted Hughes, Philip Larkin and Brian Friel. Seamus Heaney’s prose is extensive in its literary depth, knowledge, critical awareness and its span. During the course of his life, he published six collections of prose entitled Preoccupations: Selected Prose 1968–1978, Place and Displacement: Recent Poetry of Northern Ireland, The Government of the Tongue: The 1986 T.S. Eliot Memorial Lectures and Other Critical Writings, The Place of Writing, The Redress of Poetry: Oxford Lectures and Finders Keepers. Each of these texts is addressed in the collection alongside occasional and specific essays such as ‘Crediting Poetry’, ‘Writer and Righter’ and ‘Mossbawn via Mantua: Ireland in/and Europe, Cross-currents and Exchanges’, among many others. This book is a comprehensive and timely study of Seamus Heaney’s prose from leading international scholars in the field.

Bringing together philosophies of the maternal with digital technology may appear to be an arbitrary pairing. However, reading them intertextually through select creative practices reveals how both encompass an aesthetics of interruption that becomes a novel means of understanding subjectivity. EL Putnam investigates how the digital performances of certain artists, creators, and technologists rupture existing representations of the maternal, taking advantage of the formal properties of digital media. What results are interruptions of visual and aural constructions through an immanent merging of the performing body with digital technologies. Putnam bases her analysis on close examinations of the way certain makers use the formal properties of digital imagery, such as the gap, the glitch, and the lag, as means of rendering images of the maternal uncanny in order to challenge mediation, constituting an aesthetics of interruption. The result is a radical critical strategy for engaging with digital technology and subsequent understandings of the subject that defy current modes of assimilation.

From the Napoleonic Wars to the invention of the railway to the shell shock of World War I, writers tried to give voice to the suffering that war and industrial technology had wrought all around them. Yet they, like the doctors who treated these victims, repeatedly ran up against the incapacity of language to describe such anguish; those who suffered trauma, those who tried to heal it, and those who represented it were all unable to find the appropriate words. In The Language of Trauma, John Zilcosky uncovers the reactions of three major central European writers – E.T.A. Hoffmann, Sigmund Freud, and Franz Kafka – to the birth of modern trauma in the nineteenth and early twentieth centuries. Zilcosky makes the case that Hoffmann, Freud, and Kafka managed to find the language of trauma precisely by not attempting to name the trauma conclusively and instead allowing their writing to mimic the experience itself. Just as the victims’ symptoms seemed not to correspond to a physical cause, the writers’ words did not connect directly to the objects of the world. While doctors attempted to overcome this indeterminacy, these writers embraced and investigated it; they sought a language that described language’s tragic limits and that, in so doing, exemplified the wider literary and philosophical crisis of their time. Zilcosky boldly argues that this linguistic scepticism emerged together with the medical inability to name the experience of trauma. He thereby places trauma where it belongs: at the heart of both medicine’s diagnostic predicament and modern literature’s most daring experiments.

This volume explores the relationship between temporality and presence in medieval artworks from the third to the sixteenth centuries. It is the first extensive treatment of the interconnections between medieval artworks' varied presences and their ever-shifting places in time. The volume begins with reflections on the study of temporality and presence in medieval and early modern art history. A second section presents case studies delving into the different ways medieval artworks once created and transformed their original viewers' experience of the present. These range from late antique Constantinople, early Islamic Jerusalem and medieval Italy, to early modern Venice and the Low Countries. A final section explores how medieval artworks remain powerful and relevant today. This section includes case studies on reconstructing presence in medieval art through embodied experience of pilgrimage, art historical research and museum education. In doing so, the volume provides a first dialog between museum educators and art historians on the presence of medieval artifacts. It includes contributions by Hans Belting, Keith Moxey, Rika Burnham and others.

This final volume in the four-volume series Habits of Being shows how the dialectic between everyday appearance and outrageous acts is mediated through clothing and accessories. It considers how clothing and accessories can move quickly from the ordinary to the extravagant. Employing many different approaches, these essays explore how wearing an object—a crown, a flower, an earring, a corsage, a veil, even a length of material—can stray beyond the bounds of the body on which it is placed into the discrepant territory of flagrantly excessive public signs of love, status, honor, prestige, power, desire, and display. The varied contributions of scholars (historians, ethnographers, literary and film critics) and artists (photographers, sculptors, writers, weavers, and embroiderers) take up the threads of these forays into history, psyche, and aesthetics in surprising and useful ways. With examples from around the world, contributors address how the simple action of ornamenting the body, even with something as common as a button, are open to elaborate interpretations—which themselves offer new understandings of human behavior and artistic endeavor. When our “habits of being” receive close scrutiny, they seem anything but habitual. Contributors: Mariapia Bobbiobi; Camilla Cattarulla, U of Rome Three; Paola Colaiacomo, Sapienza, U of Rome; Maria Damon, Pratt Institute of Art; Joanne B. Eicher, U of Minnesota; Maria Giulia Fabi, U of Ferrara; Margherita di Fazio; Adeena Karasick, Fordham U; Tarrah Krajnak, Pitzer College; Charlotte Nekola, William Paterson U; Victoria R. Pass, Maryland Institute College of Art; Amanda Salvioni, U of Macerata; Maria Anita Stefanelli, U of Rome Three.

Gothic novels tell terrifying stories of patriarchal societies that thrive on the oppression or even outright sacrifice of women and others. Donna Heiland’s Gothic and Gender offers a historically informed theoretical introduction to key gothic narratives from a feminist perspective. The book concentrates primarily on fiction from the 1760s through the 1840s, exploring the work of Horace Walpole, Clara Reeve, Sophia Lee, Matthew Lewis, Charlotte Dacre, Charles Maturin, Ann Radcliffe, William Godwin, Mary Wollstonecraft, Mary Shelley, John Polidori, James Malcolm Rymer, Emily Brontë, Charlotte Brontë, Charlotte Smith, and Charles Brockden Brown. The final chapter looks at contemporary fiction and its relation to the gothic, including an exploration of Margaret Atwood’s The Blind Assassin and Ann-Marie Macdonald’s Fall on Your Knees A Coda provides an overview of scholarship on the gothic, showing how gothic gradually became a major focus for literary critics, and paying particular attention to the feminist reinvigoration of gothic studies that began in the 1970s and continues today. Taken as a whole the book offers a stimulating survey of the representation of gender in the gothic, suitable for both students and readers of gothic literature.

Few tales of artistic triumph can rival the story of Zeuxis. As first reported by Cicero and Pliny, the painter Zeuxis set out to portray Helen of Troy, but when he realized that a single model could not match Helen’s beauty, he combined the best features of five different models. A primer on mimesis in art making, the Zeuxis myth also illustrates ambivalence about the ability to rely on nature as a model for ideal form. In Too Beautiful to Picture, Elizabeth C. Mansfield engages the visual arts, literature, and performance to examine the desire to make the ideal visible. She finds in the Zeuxis myth evidence of a cultural primal scene that manifests itself in gendered terms. Mansfield considers the many depictions of the legend during the Renaissance and questions its absence during the eighteenth century. Offering interpretations of Angelica Kauffman’s paintings, Mary Shelley’s Frankenstein, and Picasso’s Les Demoiselles d’Avignon, Mansfield also considers Orlan’s carnal art as a profound retelling of the myth. Throughout, Mansfield asserts that the Zeuxis legend encodes an unconscious record of the West’s reliance on mimetic representation as a vehicle for metaphysical solace. Elizabeth C. Mansfield is associate professor of art history at the University of the South.

Illuminates the treatment of violence in the German cultural tradition between the French Revolution and the Holocaust and Second World War.