During the modern period, the bond between music and literature constituted a crucial and influential idea for Conrad and Eliot, Mann and Rilke, and many other writers. For modern novelists in particular this idea has provided the model and rationale for the experimental liberation of narrative form and its desired effect on the reader. Critics later in the twentieth century have undertaken analyses of various contrapuntal, sonata, and other musical structures in fiction, and some critics have studied the influence of various composers on novelists. Fullness of Dissonance is concerned with the related matter of how the aesthetics of music influenced the writers and texts of modern fiction.

This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love. Throughout his work Hardy associates music with moments of individual expression and relatedness. For him, music provokes a response to life that is inseparable from what gives life value, as well as being incompatible with his increasingly conscious vision of personal and social limitation. The first two chapters trace how this ironic disjunction is evident in the novels and the tales, while exploring in detail how they represent and evoke the spiritual and emotional transports of musical experience. In a corresponding way, the third and fourth chapters concentrate on how, within the poetry, music works as a vehicle of inspiration and memory, recurrently surprising the conscious self with intimations of other potentials of expression. In the fifth chapter, the focus falls on Hardy's own philosophical reading, and thus on his notebooks and letters, so as to revisit in an altered context many of the issues that have been opened up by the book's emphasis on his literary representations of musical experience-issues of individuality, of unconscious and bodily experience, of literary language. Finally, although the book does incorporate some biographical detail about Thomas Hardy's lifelong passion for playing and collecting music, it predominantly works through close reading, while also drawing at points on literary theoretical texts, where these offer ways of articulating the broad questions of literary convention and representation that arise.

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth-century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.

Drawing on the insights of lyric poetic theory, this book offers a fresh reading of Second Isaiah. This approach advances an argument that the tensive and conflicted divine voice is primary unifying factor in the sequence of poems.

Although the role of shared speech in political action has received much theoretical attention, too little thought has focused on the practice of listening in political interaction, according to Susan Bickford. Even in a formally democratic polity, political action occurs in a context of conflict and inequality; thus, the shared speech of citizenship differs significantly from the conversations of friendly associates. Bickford suggests that democratic politics requires a particular quality of attention, one not based on care or friendship. Analyzing specifically political listening is central to the development of democratic theory, she contends, and to envisioning democratic practices for contemporary society.Bickford's analysis draws on the work of Aristotle and of Hannah Arendt to establish the conflictual and contentious character of politics. To analyze the social forces that deflect attention from particular voices, Bickford mobilizes contemporary feminist theory, including Gloria Anzaldua's work on the connection between identity and politics. She develops a conception of citizen interaction characterized by adversarial communication in a context of inequality. Such a conception posits public identity—and hence public listening—as active and creative, and grounded in particular social and political contexts.

Have you ever felt discarded, unworthy, dirty? Do you feel chained down by shame and regret? Do you look at yourself and wonder how you could ever be clean? Would you believe me if I told you there really is a way? One that works? A way from pain to freedom. From shame to acceptance. From loneliness to being loved more than you could possibly imagine. By picking up “God, Why Do You Love Me?”, you just took the first step. The first step toward freedom from shame, onto a path of transformation, healing, and invigoration. How do I know this? Because I walked the same path, lived shackled in the same chains of shame, and was led by God on that same miraculous journey. Why? Because God loves us as we are, knows exactly how we feel, and still wants a relationship with us. He wants a relationship with you. RIGHT. NOW. Though hurt and pain may distance your heart from Him, His specialty is broken people. Trust me, I know. Just as doctors perform surgery to heal, God desires to do the same for us. Through sharing my story, and how God has written His story of redemption in my life and on my heart, I hope that you can reflect on your story, and how God is waiting and ready to transform your own hurting heart, as He did mine. Please take this step with me on this journey of healing and learn who God created you to be.

Incisive essays on modern poetry and translation by a noted poet, translator, and critic. As an immigrant to the United States from Germany, Rosmarie Waldrop has wrestled with the problems of language posed by the discrepancies between her native and adopted tongues, and the problems of translating from one to the other. Those discrepancies and disjunctions, instead of posing problems to be overcome, have become for Waldrop a generative force and the very foundation of her interests as a critic and poet. In this comprehensive collection of her essays, Waldrop addresses considerations central to her life’s work: typical genres and ways of countering the conventions of genre; how concrete poets have made syntax spatial rather than grammatical; and the move away from metaphor in poetry toward contiguity and metonymy. Three essays on translation struggle with the sources and targets of translation, of the degree of strangeness or foreignness a translator should allow into any English translation. Finally, other essays examine the two-way traffic between reading and writing, and Waldrop’s notion of reading as experience.

Best-selling author Thomas Friedman says that globalization has made the world flat and that we cannot stop the process. But while it is right to say that globalization tends to flatten our world, it is wrong to say that there are no alternatives to current patterns of economic, ecological, political, and cultural integration. This book argues that the Christian liturgical calendar provides a constructive alternative to the globalization of economics, ecologies, politics, and cultures. It does so by incorporating the church into the fullness of time in the gospel narrative, thereby helping us escape from the dead end of Friedman's flat world so that we can improvise healthier ways of being globally integrated.