States around the world imprison people for their beliefs or politically-motivated actions. Oppositional movements of all stripes celebrate their comrades behind bars. Yet they are more than symbols of repression and human rights. Dance in Chains examines the experiences of political prisoners themselves in order to understand who they are, what they do, and why it matters. This is the first book to trace the history of modern political imprisonment from its origins in the mid-nineteenth century. The letters, diaries, and memoirs of political prisoners, as well as the records of regime policies, relate the contest in the prison cell to political conflicts between regime and opposition. Padraic Kenney draws on examples from regimes ranging from communist and fascist to colonial and democratic, including Ireland, the United Kingdom, Poland, and South Africa. They include the Fenian Brotherhood, imprisoned in England and Ireland in the 1860s, and their successors during the Irish War of Independence and the Northern Ireland Troubles; Afrikaaners suspected of treason during the Boer War; socialists fighting for Polish freedom in the Russian Empire, and then Communists denouncing "bourgeois" rule in newly-independent Poland; the opponents of apartheid South Africa and stalinist Poland; and those imprisoned by the United States in Guantanamo Bay detention camp today. Some prisons are well-known; in others, inmates suffered in obscurity. Through self-organization, education, and actions ranging from solitary non-cooperation to mass hunger strikes, these prisoners transform their incarceration and counter states' efforts to control them. While considering the international movements that have sought to publicize the plight of political prisoners, Dance in Chains examines the actions of the prisoners themselves to find universal answers to questions about the meaning and purpose of their imprisonment.

Dante's Convivio, written 1304-07, is the first major prose document in the Italian language. This new translation is based on the recent Italian critical edition of Maria Simonelli and includes as well the text of the three Italian canzoni. Using approaches from cultural and social history, traces the psychological, social, intellectual, and moral development of the 19th century American novelist, and examines the middle-class values and behavior that shaped him, and which he portrayed with such discomfort in his mature work. Annotation copyrighted by Book News, Inc., Portland, OR

The political prisoner is a creation of the modern era, in which states deploy police, courts, and prisons against organized opposition movements. 'Dance in Chains' traces the history of political imprisonment from the 1860s through the present day, using the struggles of opponents from a wide variety of regimes.

Rejecting traditional distinctions between philosophy, history, and literature, this book traces a broad connection between political identity and narrative in the field of political theory.

Sappho’s thrilling lyric verse has been unremittingly popular for more than 2,600 years—certainly a record for poetry of any kind—and love for her art only increases as time goes on. Though her extant work consists only of a collection of fragments and a handful of complete poems, her mystique endures to be discovered anew by each generation, and to inspire new efforts at bringing the spirit of her Greek words faithfully into English. In the past, translators have taken two basic approaches to Sappho: either very literally translating only the words in the fragments, or taking the liberty of reconstructing the missing parts. Willis Barnstone has taken a middle course, in which he remains faithful to the words of the fragments, only very judiciously filling in a word or phrase in cases where the meaning is obvious. This edition includes extensive notes and a special section of "Testimonia": appreciations of Sappho in the words of ancient writers from Plato to Plutarch. Also included are a glossary of all the figures mentioned in the poems, and suggestions for further reading.

About Marta Becket . . . "Tears came to my eyes. Marta represented to me the spirit of the individual. The spirit of the theater. The spirit of creativity." -Ray Bradbury, Author "Marta's paintings have a degree of humor and playfulness. The use of color is outstanding and tell of a generosity, talent and skill." -Red Skelton, Comedian/Artist "Long before anybody invented the term performance art, Marta Becket was doing it, in an abandoned opera house in Death Valley Junction. She restored it an