The Lyres Limit

Work in the humanities by undergraduate students of Carthage College

Redefines modern lyric poetry at the intersection of literary and media studies. In The Lyre Book, Matthew Kilbane urges literary scholars to consider lyric not as a genre or a reading practice but as a media condition: the generative tension between writing and sound. In addition to clarifying issues central to the study of modern poetry—including its proximity to popular song, hallowed objecthood, and seeming autonomy from historical determination—this revisionary theory of lyric presents a new history of modern US poetry as one sonorous practice among many clamorous others. Focusing on the mid-twentieth century, Kilbane traces the impact of new sound technologies on a diverse array of literary and musical works by Lorine Niedecker, Harry Partch, Louis and Celia Zukofsky, Sterling Brown, John Wheelwright, Langston Hughes, Marianne Moore, Russell Atkins, and Helen Adam. Kilbane shows how literary critics can look to media history to illuminate poetry's social life, and how media scholars can read poetry for insight into the cultural history of technology. In this book, the lyric poem emerges as a sensitive barometer of technological change.

The Limits of Identity is a polemical critique of the repudiation of universalism and the theoretical commitment to identity and difference embedded in Latin American literary and cultural studies. Through original readings of foundational Latin American thinkers (such as José Martí and José Enrique Rodó) and contemporary theorists (such as John Beverley and Doris Sommer), Charles Hatfield reveals and challenges the anti-universalism that informs seemingly disparate theoretical projects. The Limits of Identity offers a critical reexamination of widely held conceptions of culture, ideology, interpretation, and history. The repudiation of universalism, Hatfield argues, creates a set of problems that are both theoretical and political. Even though the recognition of identity and difference is normally thought to be a form of resistance, The Limits of Identity claims that, in fact, the opposite is true.

In light of the potential novel applications of neurotechnologies in psychiatry and the current debate on moral bioenhancement, this book outlines the reasons why more conceptual work is needed to inform the scientific and medical community, and society at large, about the implications of moral bioenhancement before a possible, highly hypothetical at this point, broad acceptance, and potential implementation in areas such as psychiatry (e.g., treatment of psychopathy), or as a measure to prevent crime in society. The author does not negate the possibility of altering or manipulating moral behavior through technological means. Rather he argues that the scope of interventions is limited because the various options available to “enhance morality” improve, or simply manipulate, some elements of moral behavior and not the moral agent per se in the various elements constitutive of moral agency. The concept of Identity Integrity is suggested as a potential framework for a responsible use of neurotechnologies in psychiatry to avoid human beings becoming orderers and orderables of technological manipulations.

Created by the powerful Hasyisi, yet missing for centuries from its home world, the Lyre just hangs in a willow tree, waiting. Hasyih, the Heart of the Worlds, links contiguous dimensions, many worlds invisible to each other, yet accessible through doors on Hasyih, one of the keys to which is the Lyre. Now danger threatens both Hasyih and Ranuit, the only inhabited worlds in the group, and when a young girl takes the Lyre from the willow tree, a set of interlinked activities is set into motion. Moving from world to world, going into the hands of the one who needs it most at the time, the Lyre reveals its nature as not only a Key, but also as a Weapon, an Enigma, an Answer, and a resolution, affecting both Hasyih and Ranuit. And the girl Queen Yisri is the center of it all.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.

Ten years have passed since the events of the Demon Child books that left the god Xaphista dead, the nation Karien without a religion or king and the matriarchal country of Medalon ruled by men. But it is in the kingdoms of the south that things really heat up. When Princess Rakaia of Fardohnya discovers she is not of royal birth, she agrees to marry a much older Hythrun noble in a chance to escape her 'father's wrath. Rakaia takes nothing but her jewels and her base-born half-sister, Charisee, who has been her slave, handmaiden and best friend since she was six years old. And who can pass as Rakaia's double. These two sisters embark on a Shakespearean tale of switched identities, complicated love triangles...and meddlesome gods. Rakaia is rescued on the road by none other than the Demon Child, R'shiel, still searching for a way to force Death to release her near immortal Brak. Charisee tries to act like the princess she was never meant to be and manages to draw the attention of the God of Liars who applauds her deception and only wants to help. Then there is the little matter of the God of Music's magical totem that has been stolen...and how this theft may undo the universe. Powerful magics, byzantine politics, sweeping adventure, and a couple of juicy love stories thrown in for good measure, The Lyre Thief is classic Fallon that is sure to appeal to her fans.

Presents a clear and forceful counter-statement about tensions and trends in contemporary English studies, offering at the same time a carefully reasoned critique of rationalistic forces within education and culture generally.

The study of religion and popular culture is an increasingly significant area of scholarly inquiry. Surprisingly, however, Christopher Partridge's The Lyre of Orpheus is the first general introduction to the subject of religion and popular music. His aim in this book is to introduce a range of theoretical and methodological perspectives to be used in the study of religion and popular music and popular music subcultures. He addresses a range of issues from postcolonialism to postmodernism, from sex to drugs, from violence to the demonic, and from misogyny to misanthropy. Part One provides a general overview of the history of popular music scholarship and the key approaches that have been taken. Part Two looks at approaches from the perspectives of theology and religious studies, examining key themes relating to particular genres and subcultures. Part Three narrows the focus and examines key artists and bands mentioned in Part Two, including Elvis, Bob Dylan, Madonna and Björk. Written to be accessible to the undergraduate, The Lyre of Orpheus will also appeal to general readers interested in the role of religion in our culture.