First English translation of this 19th century novel tracing the relationship between traditional Greenlandic life and the interaction with the culture of their Danish colonizers.These first hand accounts of Greenlanders have rarely been recorded. Written in 1887, with exquisite poetic detail, the dynamics driving ritual, domestic affairs and women's place in society are described as never before. Signe Rink (née Miller, 1836–1909) was born and raised in Greenland. Eden of The North was written after Rink returned to Denmark in 1883, and was followed by two more novels in 1886 and 1902. She remains the first female interpreter of Greenlandic culture and maintains a poetic style only achieved by the deepest of empathies developed after many years of living and working among Inuit as a woman and a scientist. L.S. Johanson was born in San Diego,California. L.S. later moved to Scandinavia where she lived on a small farm in western Denmark for 25 years. As an interpreter, translator, and teacher, she studied languages and linguistics at Aalborg University and Aarhus University in Denmark (Cand.Phil., Cand.Mag.) She has been translating fiction and non-fiction professionally in the U.S. and Scandinavia for over two decades. She currently lives, writes, and works in Vermont.

Public Figures is an essay-poem with photographs and text that begins with a playful thought experiment: statues of people in public spaces have eyes, but what are they looking at? To answer that question, Jena Osman sets up a camera to track the gaze of a number of statues in Philadelphia - mostly 19th century military figures carrying weapons. How does their point of view differ from our own? And how does it compare, say, to the point of view of other watchful military figures, such as drone pilots? In this book, Osman combines the histories behind these statues with poetic narratives that ask us to think about our own relational positions, and how our own everyday gaze may be complicit with the gun-sights of war. Public Figures illustrates how history is transformed, and even erased, by monuments and other public records of events. Through poetry, those histories can be made visible again. Check for the online reader's companion at http://publicfigures.site.wesleyan.edu.

The fourth published colloquia of the International Syriac Language Project (ISLP), presenting papers from an international team of authors working to develop contemporary, interdisciplinary approaches to linguistics and lexicography.

In this new series from Paul Charles, formerly retired policeman Brendy McCusker is forced to return to work following his wife's flight to America with their nest-egg. On his first major case in Belfast he partners with DI Lily O'Carroll to locate the two missing sons of a wealthy businessman. But before that case is resolved, an American banker working in Belfast is brutally murdered down on leafy Cyprus Avenue and McCusker and O'Carroll are put on the case. While the list of suspects grows ever longer, McCusker find himself juggling his move to Belfast, O'Carroll's frequent blind dates, his status as a hired-back rent-a-cop, and being a single man while trying hard not to have his head turned by Belfast's beautiful women - one mysterious one in particular. There is no relief when McCusker and O'Carroll eventually find a suspect with an air-tight alibi , which only one of the detectives believes is genuine... "Continuously absorbing, with a nice rapport between the hero and heroine." - Kirkus Reviews "Introducing a new lead character and a new setting gives the book a real sense of freshness. Readers will definitely want to see more of Brendy McCusker." - Booklist "Charles launches his new Brendy McCusker series with this twist-filled tale of betrayal and revenge." - Publishers Weekly "Charles has created an endearing character in his new novel." - NY Journal of Books

Year after year, day after day, minute after minute, billions of non-human animals are slaughtered for several purposes and aims (food, clothing, entertainment, research). An analogous situation whose objects were humans instead of animals would obviously never be accepted. But why do we tolerate and even justify one practice while deploring the other? The answer is far from banal: this book is an attempt at finding it beyond the everyday life, through politics and philosophy.

In a historical moment when cinema is definitively abandoning analogue production, the cinematographic work of Paolo Gioli occupies an important and meaningful place in the academic and artistic debate related to the present and future position of cinema and media art in the digital era. For this reason, the Film Forum Festival decided to organize a one-day seminar in Gorizia on 17th March 2013 in order to analyze and discuss the artistic production of this Italian artist. This book records and expands topics and reflections developed by international scholars and curators during that event and contains an original text by Paolo Gioli about his cinema and his artistic production.

According to both ordinary and scientific thought, two objects can enter into relation not only simultanously, but also at different times, namely cross-temporally. For instance, we understand comparisons between entities as they are at different times, such as when we say that John is now taller than Michael was three years ago; causally related events are often not simultaneous, and objects of perceptions and perceivers usually have different temporal locations (we see ordinary things as they were a few milliseconds ago, we see the sun as it was eight minutes ago, and so on). However, many philosophers consider cross-temporality deceptive. Relations, according to the “standard view”, can hold only between things existing in the same time. In this book Torrengo defends the opposite view, according to which relations can be cross-temporally instantited and thus cross-temporal talk must be taken seriously. The theory is based on the idea that persisting in time is tantamount to possessing temporal parts at different times, and its central tenet is that persisting entities (objects and events alike) are cross-temporally related by having distinct temporal parts entering into relations.

Jim Wayne Miller (1936--1996) was a prolific writer, a revered teacher and scholar, and a pioneer in the field of Appalachian studies. During his thirty-three-year tenure at Western Kentucky University, he helped build programs in the discipline in Kentucky, Tennessee, and Ohio, and worked tirelessly to promote regional voices by presenting the work of others as often as he did his own. An innovative poet, essayist, and short story writer, Miller was one of the founding fathers and animating spirits of the Appalachian renaissance. In Every Leaf a Mirror, Morris Allen Grubbs and Mary Ellen Miller have gathered essential selections from the beloved author's oeuvre. Highlights from the volume include touchstone poems; seminal articles; a rare autobiographical essay; a commencement address; and an excerpt from the previously unpublished short story "Truth and Fiction." Revealing the scope and significance of Miller's contributions as an artist and cultural scholar, this reader captures the excitement that surrounded the birth of modern Appalachian literature.With commentary by Mary Ellen Miller, an introduction from well-known author Robert Morgan, and an afterword by the notable Silas House, Every Leaf a Mirror provides an unprecedentedly intimate look at Miller's writing. This long overdue collection not only celebrates the life of this revered ambassador of Appalachian literature and culture but also introduces a new generation of readers to his work.

A lexicon of Smyrneika, the Greek dialect that functioned as a lingua franca amongst the Levantine merchant communities of the Mediterranean. Rediscovering Turkey’s Ottoman past, including lost minority cultures… a study by three amateur lexicographers. The vocabulary is followed by a collection of proverbs and a series of dialogues illustrating the language and customs … “ Peter Mackridge www. oxford.academia.edu/PeterMackridge

For Jill, a young American living in Saudi Arabia in the 1980s, life is in “a holding pattern” of long days in a restrictive place-“sandlocked nowhere,” as another expat calls it. Others don't know how to leave, and try to adopt the country as their own. And to those who were born there, the changes seem to come at warp speed: Thurayya, the daughter of a Bedouin chief, later finds herself living in a Riyadh high-rise where, she says, there are “worlds wound together with years. ” The characters in the linked stories in Triple Time are living an uneasy mesh of two divergent cultures, in a place where tradition and progress are continually in flux. These are tales of confliction-of old and new, rich and poor, sexual repression and personal freedom. We experience a barren yet strangely beautiful landscape jolted by sleek glass apartment towers and opulent fountains. On the fringes of urbanity, Bedouins traverse the desert in search of the next watering hole. Beneath a surface of cultural upheaval, the stories hold deeper, more personal meanings. They tell of yearnings-for a time lost, for a homeland, for belonging, and for love. Anne Sanow reveals much about the culture, psyche, and essence of life in modern Saudi Arabia, where Saudis struggle to keep their traditions and foreigners muddle through in search of a quick buck or a last chance at making a life for themselves in a world that is quickly running out of hiding places.

In Literate Zeal, Janet Carey Eldred examines the rise of women magazine editors during the mid-twentieth century and reveals their unheralded role in creating a literary aesthetic for the American public. Between the sheets of popular magazines, editors offered belles-lettres to the masses and, in particular, middle-class women. Magazines became a place to find culture, humor, and intellectual affirmation alongside haute couture. Eldred mines a variety of literary archives, notably the correspondence of Katharine Sargeant White of the New Yorker, to provide an insiderÆs view of the publisher-editor-author dynamic. Here, among WhiteÆs letters, memos, and markups, we see the deliberate shaping of literature to create a New Yorker ethos. Through her discrete phrasing, authors are coaxed by White to correct or wholly revise their work. Stories or poems by famous writers are rejected for being \u201cdizzying\u201d or \u201ctoo literate.\u201d With a surgeonÆs skill, \u201cdisturbing\u201d issues such as sexuality and race are extracted from manuscripts. Eldred chronicles the work of women (and a few men) editors at the major womenÆs magazines of the day. LadiesÆ Home Journal, Mademoiselle, Vogue, and others enacted an editorial style similar to that of the New Yorker by offering literature, values, and culture to an educated and aspiring middle class. Publishers effectively convinced readers that middlebrow stories (and by association their audience) had much loftier pursuits. And they were right. These publications created and sustained a mass literacy never before seen in American publishing.

In 1757, a sailing ship owned by an affluent Connecticut merchant sailed from New London to the tiny island of Bence in Sierra Leone, West Africa, to take on fresh water and slaves. On board was the owner's son, on a training voyage to learn the trade. The Logbooks explores that voyage, and two others documented by that young man, to unearth new realities of Connecticut's slave trade and question how we could have forgotten this part of our past so completely. When writer Anne Farrow discovered the significance of the logbooks for the Africa and two other ships in 2004, her mother had been recently diagnosed with dementia. As Farrow bore witness to the impact of memory loss on her mother's sense of self, she also began a journey into the world of the logbooks and the Atlantic slave trade, eventually retracing part of the Africa's long-ago voyage to Sierra Leone. As the narrative unfolds in The Logbooks, Farrow explores the idea that if our history is incomplete, then collectively we have forgotten who we are—a loss that is in some ways similar to what her mother experienced. Her meditations are well rounded with references to the work of writers, historians, and psychologists. Forthright, well researched, and warmly recounted, Farrow's writing is that of a novelist's, with an eye for detail. Using a wealth of primary sources, she paints a vivid picture of the eighteenth-century Connecticut slavers. The multiple narratives combine in surprising and effective ways to make this an intimate confrontation with the past, and a powerful meditation on how slavery still affects us.

The distinguished poet Harvey Shapiro passed away on January 7, 2013. The poems in this book, many of them previously unpublished and discovered only after his death, are a great gift, and the final confirmation of his extraordinary talent. Edited by Shapiro's literary executor, the poet and critic Norman Finkelstein, these last poems bear an unprecedented gravitas, and yet they are as supple, jazzy, and edgy as Shapiro's earlier work. All the themes for which he is known are beautifully represented here. There are poems of his experiences in World War II, the erotic life, and of daily moments in Brooklyn and Manhattan, all in search of a worldly wisdom and grace that the poet calls "a momentary glory." As Shapiro tells us, the poem "Is an Egyptian / ship of the dead, / everything required / for life stored / in its hold." The book includes an introduction by the editor. An online reader's companion will be available.

Pretending is a puzzling activity. Why should we waste our time building up representations of an imaginary world when it would be better to acquire more information about the real one? Engaging in games of make believe, however, also means to be faced with new, possible situations, and thus to anticipate what could happen if something were the case, how we or other people could react, what decisions we should make, etc. In a word, pretense games are a kind of gym, a space where children engage in with unusual situations, in order to be ready to face whatever life could present them with. This book aims to offer an account of the architecture of the mind that is required in order to engage in, and understand, pretense paying special attention to the nature of our imaginings, their power to motivate our actions, and the kinds of metarepresentational abilities that are required in order to keep our imaginary representations distinct from the representations of reality. If pretense is a uniquely human ability, understanding it means knowing what it is that makes us so peculiar.

Why have authors from the safe, social welfare state Sweden captivated the minds of the crime fiction readers across the globe? Kerstin Bergman suggests that killer marketing and a widespread curiosità about the “exotic” Nordic welfare states, their waste landscapes and alleged gender equality, has propelled these authors and novels into the international spotlight. Bergman uses this innovative angle to retell the recent history of crime fiction in Sweden, exploring central themes and selecting key authors that have garnered national and international acclaim for their lethal plots. Swedish Crime Fiction: The Making of Nordic Noir contextualizes the explosive recent history of the genre, offering newcomers and aficionados insights into the minds of protagonista and their literary creators. This is the first research-based and exhaustive presentation of Swedish crime fiction and its Nordic “neighbours” to an international audience.

The notion of text is perhaps the most used and discussed within social and human sciences. Nevertheless, it is surprisingly one of the worst defined. Philology and Linguistics, Literary Criticism and Aesthetics, Philosophy of Language, Hermeneutics, Ethnology, Psychoanalysis, Sociology, Semiotics: all these disciplines refer in various ways to the "text", to make of it the basic object of their analysis or to measure the distance they keep from it. So what does "text" mean? What genealogy does this concept have? Why is there “no salvation outside the text”? This book shows why the text should be the formal model to explain all human, social, cultural and historic phenomena and, as a consequence, the product of a double invention: first as a sociocultural configuration, secondly as an analytical reconstruction.