Unexpected Affinities

The book studies the impact of Stevensian and Valeryan poetics, and symbolist poetics more broadly, on a range of Anglo-American poets in untypical fashion. Pairing poets who are not usually studied in their relation to one another reveals mutuality and dissimilitude. Chapter I looks at Stevens and Valery from the vantage point of the senses as opposed to the more usual lens of their similar cerebral or philosophical temperaments. Although critics have largely and justifiably seen Stevens and Eliot in oppositional terms (Stevens proclaims them dead opposites), Lisa Goldfarb asks what happens when we look at them from the vantage point of their mutual interest in creating a musical poetics. Auden is principally known for his distaste for the symbolists and their magical poetics, yet he reserves special praise for Valery and considers him as his poetic mentor; Chapter III studies their poetics side-by-side. With Stevens and Audens mutual appreciation of Valery as a starting point, Chapter IV turns to a closer comparative study of Auden and Stevens, two poets who have traditionally been seen as operating in distinct poetic spheres. While Elizabeth Bishop famously eludes categorization in terms of poetic school or affiliation, a fifth chapter addresses her poetic music in relation to French symbolist poetics, one of the many poetic schools she admired. A sixth and final chapter examines Stevens musical legacy, in large part derived from the symbolists, and addresses the work of a range of modern and contemporary poets, with a final section devoted to the work of contemporary poet, Susan Howe.

East-West comparative literature is a field of study that has seen tremendous growth in recent years. In this pioneering study, renowned scholar Zhang Longxi offers a much-needed reappraisal of the thematic and conceptual similarities that unite literary and cultural traditions in the East and West. An expanded version of the lectures he gave as part of the Alexander Lectures Series at the University of Toronto in 2005, Unexpected Affinities emphasizes affinity over difference and explores the relationship between East and West in terms of cultural homogeneity (with shared literary qualities as its signposts), challenging the traditional boundaries of cross-cultural study and comparative literature as a discipline. Throughout Unexpected Affinities, Zhang emphasizes the validity of East-West studies through concrete examples and a wide range of references not only to literature, but to religious and philosophical texts as well. Zhang insists that certain critical insights come solely from the cross-cultural perspective of East-West studies, and that without going beyond the limited horizon of a single literary tradition, we will not attain the broad vision of human creativity in all its richness and diversity. Clear, concise, and engaging, Unexpected Affinities will appeal to students of comparative literature and Asian studies, as well as to readers interested in the global implications of art and culture.

This volume offers a range of responses to the problem of “disposable assignments,” essays written just for a grade and then thrown away. The scholars collected here explore how renewable assignments can contribute to public knowledge, eliciting student work that is shared across networks of learning, that does something, that transcends the teacher’s grade. Although there is significant interest in such innovative teaching practices, particularly in this year of pedagogical experimentation, there are few resources for teachers that collect in one place both scholarly context and practical advice for implementing renewable assignments in the classroom. The essays in this volume range widely, from demonstrating how digital tools engage and empower reluctant learners, to raising theoretical questions around intellectual property, to measuring the success of renewable assignments through outcomes assessment.

This book establishes surprise as a key Emersonian affect, and demonstrates its significance for transatlantic modernism and the philosophy of pragmatism.

This book is a study of European-language translations of Naxi ritual manuscripts, the ritual literature of a small ethnic group living in southwest China’s Yunnan Province. The author discusses the translations into European languages (in English, French and German) from the late nineteenth century to the second half of the twentieth century, revealing a history of fragmentary yet interconnected translation efforts in the West. By exploring this network, he shows how translation can be understood as a metonymic “recreation” of textual worlds. As Naxi manuscripts are semi-oral texts representing an oral-formulaic tradition, their translation involves a metonymic relay of partial incorporations from manuscript/image to reading/spoken language. Therefore, the book engages in a series of textual excavations to uncover the previously occluded contemporaneous readings that would have led to the translations we can consult today, particularly in an attempt to understand how the Naxi literature came to be part of Ezra Pound’s Cantos. Scholars in the field of ethnic minority literature in China and translation studies will find this book beneficial, and it will make new contributions to comparative literature between the East and West.

The second edition of Structure in Protein Chemistry showcases the latest developments and innovations in the field of protein structure analysis and prediction. The book begins by explaining how proteins are purified and describes methods for elucidating their sequences of amino acids and defining their posttranslational modifications. Comprehensive explanations of crystallography and of noncovalent forces-ionic interactions, hydrogen bonding, and the hydrophobic effect-act as a prelude to an exhaustive description of the atomic details of the structures of proteins. The resulting understanding of protein molecular structure forms the basis for discussions of the evolution of proteins, the symmetry of the oligomeric associations that produce them, and the chemical, mathematical, and physical basis of the techniques used to study their structures. The latter include image reconstruction, nuclear magnetic resonance spectroscopy, proton exchange, optical spectroscopy, electrophoresis, covalent cross-linking, chemical modification, immunochemistry, hydrodynamics, and the scattering of light, X-radiation, and neutrons. These procedures are applied to study the folding of polypeptides and the assembly of oligomers. Biological membranes and their proteins are also discussed. Structure in Protein Chemistry, Second Edition, bridges the gap between introductory biophysical chemistry courses and research literature. It serves as a comprehensive textbook for advanced undergraduates and graduate students in biochemistry, biophysics, and structural and molecular biology. Professionals engaged in chemical, biochemical, and molecular biological research will find it a useful reference.

Co-winner, Ray & Pat Browne Award for Best Edited Collection in Popular Culture and American Culture Once a small subculture, the steampunk phenomenon exploded in visibility during the first years of the twenty-first century, its influence and prominence increasing ever since. From its Victorian and literary roots to film and television, video games, music, and even fashion, this subgenre of science fiction reaches far and wide within current culture. Here Rachel A. Bowser and Brian Croxall present cutting-edge essays on steampunk: its rise in popularity, its many manifestations, and why we should pay attention. Like Clockwork offers wide-ranging perspectives on steampunk’s history and its place in contemporary culture, all while speaking to the “why” and “why now” of the genre. In her essay, Catherine Siemann draws on authors such as William Gibson and China Miéville to analyze steampunk cities; Kathryn Crowther turns to disability studies to examine the role of prosthetics within steampunk as well as the contemporary culture of access; and Diana M. Pho reviews the racial and national identities of steampunk, bringing in discussions of British chap-hop artists, African American steamfunk practitioners, and multicultural steampunk fan cultures. From disability and queerness to ethos and digital humanities, Like Clockwork explores the intriguing history of steampunk to evaluate the influence of the genre from the 1970s through the twenty-first century. Contributors: Kathryn Crowther, Perimeter College at Georgia State University; Shaun Duke, University of Florida; Stefania Forlini, University of Calgary (Canada); Lisa Hager, University of Wisconsin–Waukesha; Mike Perschon, MacEwan University in Edmonton, Alberta; Diana M. Pho; David Pike, American University; Catherine Siemann, New Jersey Institute of Technology; Joseph Weakland, Georgia Institute of Technology; Roger Whitson, Washington State University.