The Negating Fire Vs The Affirming Flame

This book studies a selection of works of Philippine literature written in Spanish during the American occupation of the Philippines (1902-1946). It explores the place of Filipino nationalism in a selection of fiction and non-fiction texts by Spanish-speaking Filipino writers Jesús Balmori, Adelina Gurrea Monasterio, Paz Mendoza Guazón, and Antonio Abad. Taking an interdisciplinary approach that draws from Anthropology, History, Literary Studies, Cultural Analysis and World Literature, this book offers a comparative analysis of the position of these authors toward the cultural transformations that have taken place as a result of the Philippines' triple history of colonization (by Spain, the US, and Japan) while imagining an independent nation. Engaging with an untapped archive, this book is a relevant and timely contribution to the fields of both Filipino and Hispanic literary studies.

Offers a fascinating window into how the fraught politics of apology in the East Asian region have been figured in anglophone literary fiction. The Pacific War, 1941-1945, was fought across the world’s largest ocean and left a lasting imprint on anglophone literary history. However, studies of that imprint or of individual authors have focused on American literature without drawing connections to parallel traditions elsewhere. Beyond Hostile Islands contributes to ongoing efforts by Australasian scholars to place their national cultures in conversation with those of the United States, particularly regarding studies of the ideologies that legitimize warfare. Consecutively, the book examines five of the most significant historical and thematic areas associated with the war: island combat, economic competition, internment, imprisonment, and the atomic bombing of Hiroshima and Nagasaki. Throughout, the central issue pivots around the question of how or whether at all New Zealand fiction writing differs from that of the United States. Can a sense of islandness, the ‘tyranny of distance,’ Māori cultural heritage, or the political legacies of the nuclear-free movement provide grounds for distinctive authorial insights? As an opening gambit, Beyond Hostile Islands puts forward the term ‘ideological coproduction’ to describe how a territorially and demographically more minor national culture may accede to the essentials of a given ideology while differing in aspects that reflect historical and provincial dimensions that are important to it. Appropriately, the literary texts under examination are set in various locales, including Japan, the Solomon Islands, New Zealand, New Mexico, Ontario, and the Marshall Islands. The book concludes in a deliberately open-ended pose, with the full expectation that literary writing on the Pacific War will grow in range and richness, aided by the growth of Pacific Studies as a research area.

In this survey of literary images of Japan, Ronald Klein has identified more than 160 works with Japanese characters, providing both comprehensive overviews as well as individual monographs on specific writers. This book creates a subgenre of thematic work, positing an alternative postcolonial relationship.

"In the Holocaust novel, silence is always a character, and the word is always its subject matter." So writes David Patterson in this profound and original study of more than thirty important writers. Contrary to existing views, he argues, the Holocaust novel is not an attempt to depict an unimaginable reality or an ineffable horror. It is, rather, an endeavor to fetch the word from silence and restore it to meaning, to resurrect the human soul, to regenerate the relation between the self and God, the self and other, the self and itself. This book is less a critical study in the usual sense than an impassioned meditation on the deeper sources of the Holocaust novel. Among the authors examined are Elie Wiesel, Arnost Lustig, Aharon Appelfeld, Katzetnik 135633, Primo Levi, Yehuda Amichai, Piotr Rawicz, A. Anatoli, Saul Bellow, I.B. Singer, Anna Langfus, Rachmil Bryks, and Ilse Aichinger. The Shriek of Silence is a first in several respects: the first to examine the Holocaust novels in their original languages, the first to articulate a theoretical basis for its approach, and the first phenomenological investigation—one that attempts to penetrate the process of creation for these novelists. Organized along conceptual lines, the book examines "the word in exile," the themes of death of the father and the child, transformations of the self, and the implications of the reader. Its philosophical foundations are Rosenzweig, Buber, Neher, and Levinas. Its critical approach is shaped by Bakhtin. The novelists of the Holocaust, in witnessing through their words, regain their voices and in so doing are reborn. By probing the depths of their struggle, Patterson's study draws us too toward a higher understanding, perhaps even our own rebirth.

An exploration of the complex and interesting relations between Nietzsche's philosophical thought and the Buddhist philosophy which he admired and opposed. The volume will appeal to students and scholars interested in Nietzsche's philosophy, Buddhist thought and in the metaphysical, existential and ethical issues that emerge with the demise of theism.

Dismantling Glory presents the most personal and powerful words ever written about the horrors of battle, by the very soldiers who put their lives on the line. Focusing on American and English poetry from World War I, World War II, and the Vietnam War, Lorrie Goldensohn, a poet and pacifist, affirms that by and large, twentieth-century war poetry is fundamentally antiwar. She examines the changing nature of the war lyric and takes on the literary thinking of two countries separated by their common language. World War I poets such as Wilfred Owen emphasized the role of soldier as victim. By World War II, however, English and American poets, influenced by the leftist politics of W. H. Auden, tended to indict the whole of society, not just its leaders, for militarism. During the Vietnam War, soldier poets accepted themselves as both victims and perpetrators of war's misdeeds, writing a nontraditional, more personally candid war poetry. The book not only discusses the poetry of trench warfare but also shows how the lives of civilians—women and children in particular—entered a global war poetry dominated by air power, invasion, and occupation. Goldensohn argues that World War II blurred the boundaries between battleground and home front, thus bringing women and civilians into war discourse as never before. She discusses the interplay of fascination and disapproval in the texts of twentieth-century war and notes the way in which homage to war hero and victim contends with revulsion at war's horror and waste. In addition to placing the war lyric in literary and historical context, the book discusses in detail individual poets such as Wilfred Owen, W. H. Auden, Keith Douglas, Randall Jarrell, and a group of poets from the Vietnam War, including W. D. Ehrhart, Bruce Weigl, Yusef Komunyakaa, David Huddle, and Doug Anderson. Dismantling Glory is an original and compelling look at the way twentieth-century war poetry posited new relations between masculinity and war, changed and complicated the representation of war, and expanded the scope of antiwar thinking.

This volume challenges dominant imaginations of globalization by highlighting alternative visions of the globe, world, earth, or planet that abound in cultural, social, and political practice. In the contemporary context of intensive globalization, ruthless geopolitics, and unabated environmental exploitation, these “other globes” offer paths for thinking anew the relations between people, polities, and the planet. Derived from disparate historical and cultural contexts, which include the Holy Roman Empire; late medieval Brabant; the (post)colonial Philippines; early twentieth-century Britain; contemporary Puerto Rico; occupied Palestine; postcolonial Africa and Chile; and present-day California, the past and peripheral globes analyzed in this volume reveal the variety of ways in which the global has been—and might be—imagined. As such, the fourteen contributions underline that there is no neutral, natural, or universal way of inhabiting the global.