Between 1400 and 1878, the majority of Southern Slavic peoples endured several centuries of Ottoman rule. In the nineteenth century there was a movement among both the Croats and the Serbs to set aside regional, ethnic, religious, and cultural differences in order to work together toward the liberation of all the Southern Slavs from the Ottoman yoke. These volumes explore how the masterpieces of two leading poets among the Croats and Serbs - Ivan Mazuranić (1814-1890) and Petar II Petrović Njegos (1813-1851), who was Prince-Bishop of Montenegro from 1830-1851 - dealt with the Southern Slavs' relationship to Islam in their greatest poetic works, The Death of Smail-agha Čengić and The Mountain Wreath, respectively.

The falsification of the entire field of academic social sciences, and the proposal of an unifying social object.

The Poetry of Saying unearths a secret history of fifty years of experimental British verse, revealing and illuminating the daring work of British poets who have spent a half-century rewriting the rules of English poetry. Poet Robert Sheppard considers individual poets such as Roy Fisher and Lee Harwood as well as the role of poetry magazines and the Poetry Society. Sheppard's position at the center of the 1950s British Poetry Revival enables him to offer an insider's commentary on the social, political, and historical background of this particularly fertile and exciting period in British poetry.

"It is only the unimaginative who ever invents," Oscar Wilde once remarked. "The true artist is known by the use he makes of what he annexes, and he annexes everything." Converying a similar awareness, James Joyce observes in Finnegan's Wake that storytelling is in reality "stolen-telling," that art always involves some sort of "theft" or borrowing. Usually literary borrowings are so integrated into the new work as to be disguised; however, according to David Cowart, recent decades have seen an increasing number of texts that attach themselves to their sources in seemingly parasitic—but, more accurately, symbiotic—dependence. It is this kind of mutuality that Cowart examines in his wide-ranging and richly provocative study Literary Symbiosis. Cowart considers, for instance, what happens when Tom Stoppard, in Rosencrantz and Guildenstern Are Dead, rewrites Hamlet from the point of view of its two most insignificant characters, or when Jean Rhys, in Wide Sargasso Sea, imagines the early life of Bertha Rochester, the mad-woman in the attic in Jane Eyre. In such works of literary symbiosis, Cowart notes, intertextuality surrenders its usual veil of near invisibility to become concrete and explicit—a phenomenon that Cowart sees as part of the postmodern tendency toward self-consciousness and self-reflexivity. He recognizes that literary symbiosis has some close cousins and so limits his compass to works that are genuine reinterpretations, writings that cast a new light on earlier works through "some tangible measure of formal or thematic evolution, whether on the part of the guest alone or the host and guest together." Proceeding from this intriguing premise, he offers detailed readings of texts that range from Auden's "The Sea and the Mirror," based on The Tempest, to Valerie Martin's reworking of The Strange Case of Dr. Jekyll and Mr. Hyde as Mary Reilly, to various fictions based on Robinson Crusoe. He also considers, in Nabokov's Pale Fire, a compelling example of text and parasite-text within a single work. Drawing on and responding to the ideas of disparate thinkers and critics—among them Freud, Harold Bloom, Jacques Lacan, Jacques Derrida, Hillis Miller, and Henry Louis Gates Jr.—Cowart discusses literary symbiosis as Oedipal drama, as reading and misreading, as deconstruction, as Signifying, and as epistemic dialogue. Although his main examples come from the contemporary period, he refers to works dating as far back as the classical era, works representing a range of genres (drama, fiction, poetry, opera, and film). The study of literary symbiosis, Cowart contends, can reveal much about the dynamics of literary renewal in every age. If all literature redeems the familiar, he suggests, literary symbiosis redeems the familiar in literature itself.

The Judeo-Christian scriptures understand humans as being made in the image of God. What exactly does this mean? Basic agreement is that it means humans can only know and understand themselves in relation to God. If, however, this God is pure uncreated spirit, where does human embodiment fit in? Is it an obstacle to understanding? Or is it in some way instructive? John Paul II comes down decisively in favor of the body's value and importance. In his catechetical series, widely known as the Theology of the Body, John Paul II analyzes what is distinctive about human beings. He undertakes a "reading" of the body. This book reflects on John Paul II's interpretation, extending his findings to the Virgin Mary. Her specifically female, maternal body is seen to offer insights into how the body images God--in how it "speaks." The transformations of the female body parallel the transformations of language in poetry. The reconfigurations and accommodations of the gestational body are, this book suggests, poetic incarnations of God-likeness. Body-Poetics of the Virgin Mary offers a Mariological slant on theological anthropology and a new way to think of how humans poetically image God.

This book constitutes the proceedings of the third International Workshop on Symbiotic Interaction, Symbiotic 2014, held in Helsinki, Finland, in October 2014. The 8 full papers and 5 short papers presented in this volume were carefully reviewed and selected from 16 submissions. They are organized in topical sections named: definitions of symbiotic interaction; reviews of implicit interaction; example applications; experimenting with users; and demos and posters.

The environmental challenges facing humanity in the twenty-first century are not only acute and grave, they are also unprecedented in kind, complexity and scope. Nonetheless, or therefore, the political response to problems such as climate change, biodiversity loss and widespread pollution continues to fall short. To address these challenges it seems clear that we need new ways of thinking about the relationship between humans and nature, local and global, and past, present and future. One place to look for such new ideas is in poetry, designed to contain multiple levels of meaning at once, challenge the imagination, and evoke responses that are based on something more than scientific consensus and rationale. This ecocritical book traces the environmental sensibilities of two Anglophone poets; Nobel Prize-winner Seamus Heaney (1939-2013), and British Poet Laureate Ted Hughes (1930-1998). Drawing on recent and multifarious developments in ecocritical theory, it examines how Hughes's and Heaney's respective poetics interact with late twentieth century developments in environmental thought, focusing in particular on ideas about ecology and environment in relation to religion, time, technology, colonialism, semiotics, and globalisation. This book is aimed at students of literature and environment, the relationship between poetry and environmental humanities, and the poetry of Ted Hughes or Seamus Heaney

This book offers fresh critical interpretation of two of the central tenets of Irish culture – migration and memory. From its starting point with the ‘New Irish’ generation of poets in the United States during the 1980s and concluding with the technological innovations of 21st-century poetry, this study spans continents, generations, genders and sexualities to reconsider the role of memory and of migration in the work of a range of contemporary Irish poets. Combining sensitive close readings and textual analysis with thorough theoretical application, it sets out the formal, thematic, socio-cultural and literary contexts of migration as an essential aspect of Irish literature. This book is essential reading for literary critics, academics, cultural commentators and students with an interest in contemporary poetry, Irish studies, diaspora studies and memory studies.

This volume of essays and other materials offers an assessment of the short prose, verse and drama of Daniil Kharms, Leningrad absurdist of the 1920s and 1930s, who was one of the last representatives of the Russian literary avante-garde.