This second volume in Kevin Starr's passionate and ambitious cultural history of the Golden State focuses on the turn-of-the-century years and the emergence of Southern California as a regional culture in its own right. "How hauntingly beautiful, how replete with lost possibilities, seems that Southern California of two and three generations ago, now that a dramatically diferent society has emerged in its place," writes Starr. As he recreates the "lost California," Starr examines the rich variety of elements that figured in the growth of the Southern California way of life: the Spanish/Mexican roots, the fertile land, the Mediterranean-like climate, the special styles in architecture, the rise of Hollywood. He gives us a broad array of engaging (and often eccentric) characters: from Harrision Gray Otis to Helen Hunt Jackson to Cecil B. DeMille. Whether discussing the growth of winemaking or the burgeoning of reform movements, Starr keeps his central theme in sharp focus: how Californians defined their identity to themselves and to the nation.

Kiberd - one of Ireland's leading critics and a central figure in the FIELD DAY group with Brian Friel, Seamus Deane and the actor Stephen Rea - argues that the Irish Literary Revival of the 1890-1922 period embodied a spirit and a revolutionary, generous vision of Irishness that is still relevant to post-colonial Ireland. This is the perspective from which he views Irish culture. His history of Irish writing covers Yeats, Lady Gregory, Synge, O'Casey, Joyce, Beckett, Flann O'Brien, Elizabeth Bowen, Heaney, Friel and younger writers down to Roddy Doyle.

John C. Poirier examines the “theopneustic” nature of the Scripture, as a response to the view that “inspiration” lies at the heart of most contemporary Christian theology. In contrast to the traditional rendering of the Greek word theopneustos as “God-inspired” in 2 Tim 3:16, Poirier argues that a close look at first- and second-century uses of theopneustos reveals that the traditional inspirationist understanding of the term did not arise until the time of Origen in the early third century CE, and that in every pre-Origen use of theopneustos the word instead means “life-giving.” Poirier thus conducts a detailed investigation of theopneustos as it appears in the fifth Sibylline Oracle, the Testament of Abraham, Vettius Valens, Pseudo-Plutarch (Placita Philosophorum), and Pseudo-Phocylides, all of whom understand the word to mean “life-giving.” He also studies the use of the cognate term theopnous in Numenius, the Corpus Hermeticum, on an inscription at the Great Sphinx of Giza, and on an inscription at a nymphaeum at Laodicea on the Lycus. Poirier argues that a rendering of “life-giving” also fits better within the context of 2 Tim 3:16, and that this meaning survived late enough to figure in a fifth-century work by Nonnus of Panopolis. He further traces the pre-Origen use of theopneustos among the Church Fathers. Poirier concludes by addressing the implication of rethinking the traditional understanding of Scripture, stressing that the lack of “God-inspired” scripture ultimately does not affect the truth status of the gospel as preached by the apostles.

How do inventors come up with great ideas? Packed with helpful tips on finding inspiration, recording ideas, and always thinking about how to improve things.

The turn of the seventeenth century was an important moment in the history of English criticism. In a series of pioneering works of rhetoric and poetics, writers such as Philip Sidney, George Puttenham, and Ben Jonson laid the foundations of critical discourse in English, and the English word "critic" began, for the first time, to suggest expertise in literary judgment. Yet the conspicuously ambivalent attitude of these critics toward criticism—and the persistent fear that they would be misunderstood, marginalized, scapegoated, or otherwise "branded with the dignity of a critic"—suggests that the position of the critic in this period was uncertain. In Inventing the Critic in Renaissance England, William Russell reveals that the critics of the English Renaissance did not passively absorb their practice from Continental and classical sources but actively invented it in response to a confluence of social and intellectual factors. Distributed for UNIVERSITY OF DELAWARE PRESS

"E. Paul Zehr physically deconstructs Iron Man to find out how we could use modern-day technology to create a suit of armor similar to the one Stark made"--Jacket.

In his monumental study, Christopher Braider explores the dialectical contest between history and truth that defines the period of cultural transition called the 'baroque'. For example, Annibale Carracci's portrayal of the Stoic legend of Hercules at the Crossroads departs from earlier, more static representations that depict an emblematic demigod who has already rejected the fallen path of worldly Pleasure for the upward road of heroic Virtue. Braider argues that, in breaking with tradition in order to portray a tragic soliloquist whose dominant trait is agonized indecision, Carracci joins other baroque artists, poets and philosophers in rehearsing the historical dilemma of choice itself. Carracci's picture thus becomes a framing device that illuminates phenomena as diverse as the construction of gender in baroque painting and science, the Pauline ontology of art in Caravaggio and Rembrandt, the metaphysics of baroque soliloquy and the dismantling of Cartesian dualism in Cyrano de Bergerac and Pascal.

"Superb... Flanders's convincing and smart synthesis of the evolution of an official police force, fictional detectives, and real-life cause célèbres will appeal to devotees of true crime and detective fiction alike." -Publishers Weekly, starred review In this fascinating exploration of murder in nineteenth century England, Judith Flanders examines some of the most gripping cases that captivated the Victorians and gave rise to the first detective fiction Murder in the nineteenth century was rare. But murder as sensation and entertainment became ubiquitous, with cold-blooded killings transformed into novels, broadsides, ballads, opera, and melodrama-even into puppet shows and performing dog-acts. Detective fiction and the new police force developed in parallel, each imitating the other-the founders of Scotland Yard gave rise to Dickens's Inspector Bucket, the first fictional police detective, who in turn influenced Sherlock Holmes and, ultimately, even P.D. James and Patricia Cornwell. In this meticulously researched and engrossing book, Judith Flanders retells the gruesome stories of many different types of murder in Great Britain, both famous and obscure: from Greenacre, who transported his dismembered fiancée around town by omnibus, to Burke and Hare's bodysnatching business in Edinburgh; from the crimes (and myths) of Sweeney Todd and Jack the Ripper, to the tragedy of the murdered Marr family in London's East End. Through these stories of murder-from the brutal to the pathetic-Flanders builds a rich and multi-faceted portrait of Victorian society in Great Britain. With an irresistible cast of swindlers, forgers, and poisoners, the mad, the bad and the utterly dangerous, The Invention of Murder is both a mesmerizing tale of crime and punishment, and history at its most readable.

The Papers of the Freudian School of Melbourne, Volume 24 give testament to that quasi - suicidal risk taken by analysts and members of the school, in applying, not a technique, but the Freudian method to their clinical practice, to their seminars, to their writing and to the functioning of the School itself. In pursuing a practice that seeks to avoid the inertia spoken of by Lacan, the contributors to this volume take the risk of encountering the impasses of the clinic today and the incompleteness of Lacanian theory with invention. Being marked by the residue of the psychoanalytic clinic they continue to work their transference to that clinic and to the texts of Freud and Lacan. Included in this volume is a paper by Oscar Zentner, founder of the School as well as translations of papers and extracts from books by analysts from overseas.

Before the week is out, Louisa must come to terms with her own understanding of love, death, and the power of invention."--BOOK JACKET.