Pain and pleasure are at the heart of human experiences and literary journeys. This book takes the title of Roland Barthes’s text on the pleasure of writing as a starting point for the discussion of other different wor(l)ds and cartographies of pain and pleasure. Set against the Aristotelian delineation of pleasure as the major principle that should govern a literary endeavor, this volume investigates alternative reflections on the themes of pleasure and pain. Thinking about the ways through which expressions of pain and pleasure may affect the writer and the reader as experiences of other pursuits of the human imagination can place or displace, soothe or enrage, and inspire or discourage the individual search for meaning. By engaging with different theories and expressions, it is possible to understand what pain and pleasure have done in the history of humanity, rather than merely looking at them as representations of others’ distant experiences. This volume entails new reflections on the expressions of pain and pleasure to create new meanings for these words in a world vying for expressions of power with and without bliss.

The present state of research in precarity demands meta-questions and hence we need to probe both philosophy and practice in light of precarity’s different manifestations. The plural perspectives by which this phenomenon can be addressed also suggest potential for further theorization alongside that of Butler and her critics. By inviting scholars and experts from different fields and disciplines, and by applying multiple frameworks, methodological approaches, and critical lenses, this volume seeks to explore the different facets of our precarious world, while providing insights into the challenges of our possible futures.

Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.

This collection examines early modern women’s contribution to the culturally central mode of complaint. Complaint has largely been understood as male-authored, yet, as this collection shows, early modern women used complaint across a surprising variety of forms from the early-Tudor period to the late-seventeenth century. They were some of the mode’s first writers, most influential patrons, and most innovative contributors. Together, these new essays illuminate early modern women’s participation in one of the most powerful rhetorical modes in the English Renaissance, one which gave voice to political, religious and erotic protest and loss across a diverse range of texts. This volume interrogates new texts (closet drama, song, manuscript-based religious and political lyrics), new authors (Dorothy Shirley, Scots satirical writers, Hester Pulter, Mary Rowlandson), and new versions of complaint (biblical, satirical, legal, and vernacular). Its essays pay specific attention to politics, form, and transmission from complaint’s first circulation up to recent digital representations of its texts. Bringing together an international group of experts in early modern women’s writing and in complaint literature more broadly, this collection explores women’s role in the formation of the mode and in doing so reconfigures our understanding of complaint in Renaissance culture and thought.

A diverse anthology of 26 of the hippest and hottest new poets since the Beat Generation, "Verses That Hurt" contain works from such noted Beat poets as Allen Ginsberg and John Giorno to the voices of a new generationHal Sirowitz, Lee Ranaldo, Todd Colby, Edwin Torres, and others. 24 b&w photos throughout.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Combines Western theories of the sublime (from Longinus to Lyotard) with indigenous Indian modes of reading in order to construct a comprehensive theory of both the Indian sublime and Indian devotional verse.