Through theoretical, philosophical, cultural, political, and historical analysis, Horacio Legras views the myriad factors that have both formed and stifled the integration of peripheral experiences into Latin American literature. Despite these barriers, Legras reveals a handful of contemporary authors who have attempted in earnest to present marginalized voices to the Western world. His deep and insightful analysis of key works by novelists Juan Jos\u00e9 Saer (The Witness), Nellie Campobello (Cartucho), Roa Bastos (Son of Man), and Jose Mar\u00eda Arguedas (The Fox from Up Above and the Fox from Down Below), among others, provides a theoretical basis for understanding the plight of the author, the peripheral voice and the confines of the literary medium. What emerges is an intricate discussion of the clash and subjugation of cultures and the tragedy of a lost worldview.

Love on the Streets is a selection from two of Doubiago's book-length poems, Hard Country and South America Mi Hija and from the collections Psyche Drives the Coast and Body and Soul, plus new poems. Hard Country takes place in 1976, on a journey across the U.S. with a lover, climaxing on the lake where his mother drowned herself when he was ten. South America Mi Hija is a journey the poet made with her 15 year-old daughter to Colombia, Ecuador and Peru. Psyche Drives the Coast are poems written while Doubiago lived mainly on the road, and in diverse, passionate communities of poets from Mendocino to the Canadian border. Body and Soul was written while she was a resident of Oregon, and the new poems are written from her present home in San Francisco.

When Fat Boy, the first atomic bomb was detonated at Los Alamos, New Mexico in 1945, moral responsibility in science was forever thrust into the forefront of philosophical debate. The culmination of the famed Manhattan Project, which employed many of the world's best scientific minds, was a singular event that signaled a new age of science for power and profit and the monumental responsibility that these actions entailed.Today, the drive for technological advances in areas such as pharmaceuticals, biosciences, communications, and the defense industry channels the vast majority of scientific endeavor into applied research. In The Responsible Scientist, John Forge examines the challenges of social, moral, and legal responsibility faced by today's scientists. Focusing on moral responsibility, Forge argues that scientists have a responsibility not to do work that has harmful outcomes and that they are encouraged to do work that prevents harm. Scientists also have a backward-looking responsibility, whereby they must prevent wrongful outcomes and omissions that they are in a position to foresee.Forge presents a broad overview of many areas of scientific endeavor, citing the responsibility of corporations, employees, and groups of scientists as judged by the values of science and society's appraisals of actions and outcomes. He maintains that ultimate responsibility lies in the hands of the individual-the responsible scientist-who must exhibit the diligence and foresight to anticipate the use and abuse of his or her work.

The theatrical endeavours that took place in Iceland during 1860 to 1920, gradually brought about a consciousness of ability and quality which was a prerequisite for professionalism. In the evolution of a theatre or theatrical phenomena in any country, the step from amateurish endeavours to professional art is crucial. Indeed, the social and artistic consequences of such a step are of the utmost significance for a country's culture in general. The signs of this development can be noticed in totally different criteria ranging from playwriting and repertory to the art of playing. The eventual transition into professionalism can form the ultimate goal both for those directly involved and for all theatre lovers in any given society. The borderline between amateur and professional theatre is nonetheless a thin one. One grows out of the other. Indeed amateur theatre provides the roots for a living professional theatre, which in turn offers both model and stimulation to those who follow. The role of the amateur theatre in this regard is often underestimated. These and other issues are discussed in this fascinating book by Iceland's leading expert on the theatre.

This book is about attribute mathematics, in which nothing ever gets bigger or smaller. More specifically, it is about some of what attribute mathematics can do toward the full digitalization of thought and language. The matter is relevant not only directly to linguistics and philosophy but also indirectly to electrical engineering and neuroscience. The twenty-first century will be that of the brain. Human existence will gradually be turned inside out as tools such as genetics and Boolean algebra allow us to see ourselves function on the smallest scale while it is happening.

At what stage in J.R.

The JCSSS is an annual refereed journal containing the transcripts of public lectures presented at the Canadian Society for Syriac Studies Inc. It focuses on the literature, art, and archaeology of Syriac Christianity from the 2nd century to modern times. Contributors include Lucas Van Rompay, Craig E. Morrison, Cor-bishop David Royel, Mary T. Hansbury, Narmen Muhamad Amen Ali, and Khalid Dinno.

WINNER OF THE 2007 DONALD HALL PRIZE IN POETRYSelected by Bob HicokBurn and Dodge is part serious/part serious play and opens with a frank and occasionally antic exploration of contemporary vices, such as Guilt, Envy, and Regret. Some poems \u201cdodge\u201d such preoccupations by playing with a nonce form called sonnet/ghazal. The collection contains a sequence of poems called \u201cCurrent Events,\u201d based on newspaper stories. that is also a playful meditation on the nature of the interrogative pronouns (Who, What, Where, When . . . ) as well as another series of homophonic sonnets called \u201cClare-Hewn,\u201d which are aural \u201ctranslations\u201d of John Clare.

WINNER OF THE 2007 CAVE CANEM POETRY PRIZESelected by Claudia RankineProse poems that profile the interrelationship of the two central characters, looking deeply into their psyches and thoughts of race, class, and identity.

In this edition of Cheikho’s literary survey of Arabic literature of the nineteenth century, the reader will find the Arabic original of Cheikho’s fine text. Difficult to locate outside the Middle East, Gorgias Press is now bringing this uncommon find to Arabists in the western world.

Based on the journal writings of Art Rooney Jr., with input from other family members, colleagues, and friends, The Chief is a one-man play that faithfully reenacts the larger-than-life persona of Pittsburgh icon Art Rooney, owner of one of the most successful football franchises of all time. Playwrights Gene Collier and Rob Zellers recreate the words, deeds, and essence of this paragon of Pittsburgh sports as he reminisces, in his gruff but affable style, about his tough upbringing on Pittsburgh's North Side and the family, friends, politicians, and outlandish adventures that shaped his life. He also recounts the colorful history of the Pittsburgh Steelers, from the foibles and frustrations of the early days to the great Super Bowl runs of the 1970s, and offers insights on the characters of many of his beloved players. Reproduced in print for the first time, the work is complemented by photographs of Rooney, his family, and members of the Steelers, along with scenes from the standout performance of actor Tom Atkins, who has embodied the role since the play's inception.

WINNER OF THE 2007 AGNES LYNCH STARRETT POETRY PRIZE Dismantling the Hills is a testament to working-class, rural American life. In a world of machinists, loggers, mill workers, and hairdressers, the poems collected here bear witness to a landscape, an industry, and a people teetering on the edge of ruin. From tightly constructed narratives to expansive and surreal meditations, the various styles in this book not only reflect the poet's range, but his willingness to delve into his obsessions from countless angles Full of despair yet never self-loathing, full of praise yet never nostalgic, Dismantling the Hills is both ode and elegy. McGriff's vision of blue-collar life is one of complication and contradiction, and the poems he makes are authentic, unwavering, and unapologetically American.

The literary influence of alchemy and hermeticism in the work of most medieval and early modern authors has been overlooked. Stanton Linden now provides the first comprehensive examination of this influence on English literature from the late Middle Ages through the sixteenth and seventeenth centuries.Drawing extensively on alchemical allusions as well as on the practical and theoretical background of the art and its pictorial tradition, Linden demonstrates the pervasiveness of interest in alchemy during this three-hundred-year period. Most writers -- including Langland, Gower, Barclay, Eramus, Sidney, Greene, Lyly, and Shakespeare -- were familiar with alchemy, and references to it appear in a wide range of genres. Yet the purposes it served in literature from Chaucer through Jonson were narrowly satirical.In literature of the seventeenth century, especially in the poetry of Donne, Herbert, Vaughan, and Milton, the functions of alchemy changed. Focusing on Bacon, Donne, Herbert, Vaughan, and Milton -- in addition to Jonson and Butler -- Linden demonstrates the emergence of new attitudes and innovative themes, motifs, images, and ideas.The use of alchemy to suggest spiritual growth and change, purification, regeneration, and millenarian ideas reflected important new emphases in alchemical, medical, and occultist writing. This new tradition did not continue, however, and Butler's return to satire was contextualized in the antagonism of the Royal Society and religious Latitudinarians to philosophical enthusiasm and the occult. Butler, like Shadwell and Swift, expanded the range of satirical victims to include experimental scientists as well as occult charlatans. The literary uses of alchemy thus reveal the changing intellectual milieus of three centuries.

For a Limited TIme Only, Ronald Wallace's eighth collection of poems, is perhaps his darkest and most meditative to date, focusing his experiences with illness, old age, and mortality; his father-in-law's death after a long bout with Alzheimer's; his step-father's death after a painful struggle with esophageal cancer, his own bout with prostate cancer. These personal experiences form the core of the first three sections of the book, but are mediated by theological and philosophical speculations that find further voice in the character of a \u201cMr. Grim,\u201d whose angry, self-pitying, gruff, comic, self-depreciating, nostalgic, defeated, and hopeful riffs on the human condition provide a bridge to the affirmative, often comic, close. In the final two sections, in poems in praise of his dentist, his barber, his wife, his grandparents, the morpheme, Mr. Malaprop, Pluto, tattoos, hamburger heaven, sex talk, and poetry itself, Wallace once again proves the resilience of hope and humor in what is, for him, finally a world of wonders.

In painting, a “domestic interior” depicts the inside of a house and its inhabitants going about their daily lives. The poems in Domestic Interior describe the private and sometimes secret spaces in our places of residence and the interior lives of those who live there. Marriage and parenthood, grief, spiritual renewal, community and country are subjects addressed with a satirical eye and emotional insight.

In Stalinist Russia, the idealized Soviet man projected an image of strength, virility, and unyielding drive in his desire to build a powerful socialist state. In monuments, posters, and other tools of cultural production, he became the demigod of Communist ideology. But beneath the surface of this fantasy, between the lines of texts and in film, lurked another figure: the wounded body of the heroic invalid, the second version of Stalin's New Man. In How the Soviet Man Was Unmade, Lilya Kaganovsky exposes the paradox behind the myth of the indestructible Stalinist-era male. In her analysis of social-realist literature and cinema, she examines the recurring theme of the mutilated male body, which appears with startling frequency. Kaganovsky views this representation as a thinly veiled statement about the emasculated male condition during the Stalinist era. Because the communist state was \u201cfull of heroes,\u201d a man could only truly distinguish himself and attain hero status through bodily sacrifice-yet in his wounding, he was forever reminded that he would be limited in what he could achieve, and was expected to remain in a state of continued subservience to Stalin and the party.Kaganovsky provides an insightful reevaluation of classic works of the period, including the novels of Nikolai Ostrovskii (How Steel Was Tempered) and Boris Polevoi (A Story About a Real Man), and films such as Ivan Pyr'ev's The Party Card, Eduard Pentslin's The Fighter Pilots, and Mikhail Chiaureli's The Fall of Berlin, among others. The symbolism of wounding and dismemberment in these works acts as a fissure in the facade of Stalinist cultural production through which we can view the consequences of historic and political trauma.