University Ink: A Showcase of UofL Authorship: New Releases

The poems of Goners are lipograms, an ancient form that demands certain letters be excluded when writing, in Maxwell's case, the letters comprising the names of endangered animals. As she describes, "The poem 'Cheetah,' for instance, uses 21 of 26 letters, all but a, c, e, h, and t, so no articles, no cats, no being, no are or were or was, no choice, etc. (no etc.)." In the context of the corrosive effects of imperialism and industrialization, Goners questions the common practice of elegizing and employs an alternative mode. The animals in the titles are absent from the poems-they're gone. Instead, in a haunting gesture, the poems foreground the role anthropocentrism plays in the sixth extinction underway. Winner of the Wishing Jewel Prize.

An exquisitely illustrated introduction to the gestural mark in the designed world, exploring the tension between marks, which are felt, and images and words, which are conceptual. In The Hidden Factor, Steven Skaggs provides a beautifully illustrated and explained introduction to the mark-from those as physical as a scratch made by an animal, to those as accidental as a splatter of paint, to those as intentional as hand-drawn characters. Skaggs makes the case that, in the visual arts, gestures and mark-making operate on an equal level with image and word. While we might think of content as that which is communicated through text and images, Skaggs shows, through visual examples, that the gestural mark is often hidden within both images and the typographic forms that convey words. By mapping different kinds of marks and showing how marks combine with image and word, The Hidden Factor explains that our desire for conceptual information suppresses our awareness of marking. This is especially the case with the tension between word and mark, where we desire legibility. As a result, one of the most conservative of arts-calligraphy-has the potential of being the most radical, since gesturally expressive handwriting is a natural threat to the legibility of a text. Filled with expressive calligraphic art, graffiti, and other gorgeous marks, The Hidden Factor is an eye-opening read that brings to the fore the importance-and indeed, the prevalence-of the mark in everything we see.

ground-breaking: challenges the "linguistic only" category of translation and provides an interdisciplinary and broader understanding of what translation is, what it does, how, and where. highly interdisciplinary and collaborative and will therefore appeal to anyone interested in translation across a range of approaches and disciplines, from comparative literature to semiotics. there are no books on the market that bring the historical, spatial, and material aspects of translation studies into dialogue with each other within the same volume.

With the aim of renewing motivation, energy, and creativity in a therapists clinical work, this book explores how common factors may be utilized to increase effectiveness in couple and family therapy. Practicing a specific approach or model for couple and family therapy may fulfill many initial therapist needs, but over time it is developmentally normal for your enthusiasm to wane for a specific way of practicing this therapy. This book therefore provides a common factors framework which may help alleviate feelings of "staleness" and reinvigorate your practice. Different from previous theoretical texts about common factors, this practical book will help you construct a personalized plan that will allow you to take charge of your therapeutic development. The authors present helpful strategies and exercises to build on your previously existing therapeutic skill set, stoke curiosity for the work, counter against burnout and frustration and, most importantly, achieve consistently better outcomes for your clients. This new resource is an essential read for seasoned couple and family therapists who want to improve their clinical skills and personal effectiveness, as well as students and professionals just starting their journey into this type of clinical work.

Ghosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages; ghosts within the dramatic works of Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic representation of ghosts in the 20th and 21st centuries includes studies of Noël Coward's Blithe Spirit, August Wilson's Pittsburgh Cycle, plays by Sam Shepard, David Mamet, and Sarah Ruhl, Paddy Chayefsky's The Tenth Man, Suzan-Lori Parks' Topdog/Underdog, and the spectral imprint of Shakespeare's ghosts in the Irish drama of Marina Carr, Martin McDonagh, William Butler Yeats, and Samuel Beckett. The volume closes by examining three contemporary American indigenous plays by Anishinaabe author, Alanis King.

As digital communication has become dominant, commentators have declared that handwriting is a thing of the past, a relic of an earlier age. This volume of original essays makes it clear that anxiety around handwriting has existed for centuries and explores writing practices from a variety of interdisciplinary fields, including manuscript studies, Native American studies, media history, African American studies, book history, bibliography, textual studies, and archive theory. By examining how a culturally diverse set of people grappled with handwriting in their own time and weathered shifting relationships to it, Handwriting in Early America uncovers perspectives that are multiethnic and multiracial, transatlantic and hemispheric, colonial and Indigenous, multilingual and illiterate.  Essays describe a future of handwriting as envisioned by practitioners, teachers, and even government officials of this time, revealing the tension between the anxiety of loss and the need to allow for variations going forward. Contributors include James Berkey, Blake Bronson-Bartlett, John J. Garcia, Christopher Hager, Desirée Henderson, Frank Kelderman, Michelle Levy, Lisa Maruca, Christen Mucher, Alan Niles, Seth Perlow, Carla L. Peterson, Sarah Robbins, Patricia Jane Roylance, Karen Sánchez-Eppler, and Danielle Skeehan.

This handbook showcases an Africa-wide compendium of Stone Age archaeological sites and methodological advances that have improved our understanding of hominin lifeways and biogeography in the continent. The focal time spans the Pleistocene Epoch (c. 2.5 million-11,700 years ago) during which important human traits, such as obligate bipedalism that freed the hands to engage in creative activities, a large brain relative to body size, language, and social complexity, developed in the general forms that they are found today. The handbook is the first of its kind, and it is expected to play a significant role in human evolutionary research by: ❖ Collating the African Stone Age record, which exists in a fragmented state along the lines of national boundaries and colonial experiences. ❖ Showcasing emerging conceptual and methodological advances in African Pleistocene archaeology. ❖ Providing reference datasets for teaching and researching African prehistory. ❖ Making Africa's Stone Age record accessible to researchers and students based in Africa who may not have access to journal publications where most new field discoveries are published.

An illuminating study of the work of artist Martin Kippenberger, whose art expressed the enthusiasms and frustrations of the West German middle class. Martin Kippenberger- Everything Is Everywhere is the first scholarly monograph in English on West German artist Martin Kippenberger (1953-1997), one of the most prominent German artists of the 1980s. In this book, Chris Reitz shows that the condition of Kippenberger's art was an endless, enthusiastic searching, constrained by the impossibility of fulfillment. A child during West Germany's Wirtschaftswunder, the economic miracle of the 1950s and 1960s, and a young adult during the economic recession and political tumult of the 1970s, Kippenberger belonged to the first truly postwar generation. But, largely uninterested in the legacy of National Socialism that had occupied his predecessors, Kippenberger instead pursued a hyperproductive artistic practice that reflected the dreams and fears of the ascendent 1980s West German middle class. Kippenberger's ambitions took him everywhere- he founded a museum in Greece, invested in a fashion business and a restaurant, and even bought a gas station in Brazil. He made art in a dizzying range of genres, from paintings to poetry, from posters to stickers. He made art out of his appetites, too, producing art on the theme of his own alcoholism. Intensely entrepreneurial, Kippenberger carried out an artistic practice in which his diverse endeavors, and the people who joined him in them, were all connected in a sprawling network. Reitz deftly presents Kippenberger's career as an allegory of the neoliberal networks of capital, technology, and culture that spanned Europe and America in the 1980s.

Return of the Believer: Studies in the Prayer of Jesus from the Gospel of John is a theological study of the Prayer of Jesus specifically, the Gospel of John in general, and relevant topics in the Synoptic Gospel. The Prayer of Jesus contains twenty-six verses with each verse prompting broader applications for the Christian faith. The main title Return of the Believer implies an original express of faith in Jesus Christ by John the writer of the Gospel. The study accepts an apologetic value to the Gospel of John as it argues the importance of true faith through the acceptance of John's interpretation of Jesus Christ. The Prayer of Jesus is a summary of John's views of Jesus. The return of the believer is a call for a renewal of faith in the New Testament, especially the Gospel of John. This study reveals the Apostle John as the true believer and model for the Christian faith, and the Prayer of Jesus provides a summary of John's teachings and the expressed will of God for the Church. Each verse is explained in the context of its surrounding verses, and important topics are addressed. The special feature of the Prayer is its prompting of related issues that appear elsewhere in the New Testament and the teachings of the Church. For example, the Prayer, and the Gospel itself, does not mention the birth of Jesus but, instead, focuses on the pre-existence of the Son as the eternal Logos or God. This study requires an explanation of the difference. Discussions of each verse invite the reader to engage in contemporary related issues.

New fiction from National Endowment for the Arts recipient, Sarah Anne Strickley! With Incendiary Devices: Stories, Sarah Anne Strickley blends her trademark lyricism with speculative experiment in the form of stories that take readers into alternative possibilities for the characters present in such canonical works as William Faulker's As I Lay Dying, Alfred Hitchcock's Rear Window, Dante Alighieri's Inferno, Louisa May Alcott's Little Women, and others. Though not all of the stories are explicit re-tellings, they do all approach familiar storylines and tropes with a fresh--and unabashedly feminist--perspective. If you've ever wondered what happens to Dewey Dell after her mother is safely in the ground, what Amy's true feelings about her sister Joe's literary success might be, or what happens when a newspaper headline becomes the story of your life, this is the collection for you. While Strickley's critical gaze is brave and unwavering, readers will also enjoy her wry sense of humor and the room she makes in her storyworlds for the possibility of change. Incendiary Devices offers a glimpse of a future in which new narrative patterns shape the stories we know and love, but it doesn't hesitate to grapple with the limitations of the present. Fiction.

This scholarly edition invites us to reconsider our assumptions about the French language, by showcasing the oeuvre of one of the pioneers of diachronic Spoken French corpus linguistics, William J. Ashby, and the ground-breaking findings to come out of his influential Tours corpora (1976 & 1995), including two real-time studies appearing for the first time in English translation. To help readers visualize just how radically different the morphosyntax, morphophonology, and semantics of Spoken French are from French-on-the-page, the editor has developed a glossing framework, designed to capture the systemic, radically-prefixal morphology of Spoken French and the variability of change-in-progress. The model, presented here and used to gloss the examples from the Tours corpus, is also suitable for corpus-tagging. The volume is organized into sections preceded by an Editor's note and followed by suggestions for further reading, and closes with an appendix of French corpora. This scholarly edition was written for advanced undergraduates, graduate students, and scholars in the field.

The veteran contributors to this volume take as their central drama, and their essential task for analysis, the enduring literary and political legacy of Israel Prize laureate Amos Oz (1939-2019). Born a decade prior to the establishment of the state of Israel, in what was then Palestine under British rule, Oz's life spanned the country's entire history, and both his fiction and nonfiction restlessly probe and illuminate its fraught conflicts, contradictions, and ambivalences. Throughout his career, Oz grappled frankly with the often-painful realities of Israeli life while also celebrating the ebullience of the Israeli spirit, and his sophisticated understanding of the sociopolitical turmoil of his society was always accompanied by intensely lyrical language and deep penetrations into the vulnerabilities of the human psyche. The volume's twenty contributors bring an exciting diversity of concerns and perspectives to Oz's most celebrated novels (including his powerfully resonant final novel, Judas) as well as to overlooked facets of his oeuvre, illuminating the breathtaking scope of his literary legacy. Together, they offer gripping analyses of his urgent and profoundly universal works about political and romantic dreamers whose heartfelt struggles with both their own human frailties and those of the state ultimately resonate far beyond Israel itself.

This book shows how authors in nineteenth-century Britain used the materials of writing (and of reading, drawing, and handicraft) for inspiration and creative composition. In doing so, it reshapes the sensory history of working on and with paper. These activities were many and varied: Charlotte Brontë composed poems and doodled in the margins of school books, George Eliot recorded writing ideas on her blotter, Elizabeth Barrett Browning sewed paper to paper to edit her poems, and Jane Austen employed straight pins to "cut and paste." Albums provided a playful space to collect and to produce text-and-collage gifts for friends, circumventing print culture for a more intimate book making, as Elizabeth Gaskell and Anna Atkins knew. Notebooks and commonplace books were vital to Eliot, Michael Field, and Emily Brontë as part of a writing process. Writers experimented with crafts and needlework to compose text without paper and ink, most notably in the case of samplers. What writing and drawing happened on--including bibles, sewing patterns, and walls--mattered, as related to, and generative of, the themes of the work. This expansive field of meanings that creativity with textual (and material) things could have was common to the Victorians, but the writers explored here were extravagant even among their self-reflexive contemporaries in their undoing, remaking, miniaturizing, encrypting, reusing, and transforming. The edge of the page, the width of the margin, the covers of the book, were limiting factors, but also provocations to push on further, be radical.

Part of the Norton Library series The Norton Library edition of Uncle Tom's Cabin features the text of the 1852 edition, including original woodcut illustrations. An introduction by Susan M. Ryan takes a lively and incisive look at the novel's historical and religious contexts, its political influence as well as its limits, and why Uncle Tom's Cabin--with all its controversies--endures as an American classic. The Norton Library is a growing collection of high-quality texts and translations--influential works of literature and philosophy--introduced and edited by leading scholars. Norton Library editions prepare readers for their first encounter with the works that they'll re-read over a lifetime. Inviting introductions highlight the work's significance and influence, providing the historical and literary context students need to dive in with confidence. Endnotes and an easy-to-read design deliver an uninterrupted reading experience, encouraging students to read the text first and refer to endnotes for more information as needed. An affordable price (most $10 or less) encourages students to buy the book and to come to class with the assigned edition. About the Editor: Susan M. Ryan is Professor of English and Associate Dean for Faculty Affairs at the University of Louisville. She is the author of The Grammar of Good Intentions: Race and the Antebellum Culture of Benevolence (2003) and The Moral Economies of American Authorship: Reputation, Scandal, and the Nineteenth-Century Literary Marketplace (2016).

Following the Japanese invasion of northeast China in 1931, the occupying authorities established the Manchuria Film Association to promote film production efficiency and serve Japan's propaganda needs. Manchuria Film Association had two tasks: to make "national policy films" as part of a cultural mission of educating Chinese in Manchukuo (the puppet state created in 1932) on the special relationship between Japan and the region, and to block the exhibition of Chinese films from Shanghai that contained anti-Japanese messages. The corporation relied on Japanese capital, technology, and film expertise, but it also employed many Chinese filmmakers. After the withdrawal of Japanese forces in 1945, many of these individuals were portrayed as either exploited victims or traitorous collaborators. Yuxin Ma seeks to move the conversation beyond such simplistic and inaccurate depictions. By focusing on the daily challenges and experiences of the Chinese workers at the corporation, Ma examines how life was actually lived by people navigating between practical and ideological concerns. She illustrates how the inhabitants of Manchukuo navigated social opportunities, economic depression, educational reforms, fascist rule, commercial interests, practical daily needs, and more--and reveals ways in which these conflicting preoccupations sometimes manifested as tension and ambiguity on screen. In the battle between repression and expression, these Chinese actors, directors, writers, and technicians adopted defensive and opportunistic tactics. They did so in colonial spaces, often rejecting modernist representations of Manchukuo in favor of venerating traditional Chinese culture and values. The expertise, skills, and professional networks they developed extended well beyond the occupation into the postwar period, and may individuals reestablished themselves as cinema professionals in the socialist era.

The editorial staff of Miracle Monocle invited contributors to share work related to life's missed opportunities and blunders.