"The reader discovers new satisfactions with such a book. Far from the insipid savors generated by a passive fascination, the text stirs up the joys of an endless activity." Le Monde

This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period. Magda Dragu distinguishes between the concepts of collage and montage, as defined across several media (fine arts, literature, music, film, photography), based on the type of artistic meaning they generate, rather than the mechanical procedures involved. The book applies theories of intermediality to collage and montage, which is crucial for understanding collage as a form of cultural production. Throughout, the author considers the political implications, as collages and montages were often used for propagandistic purposes. This book combines research methods used in several areas of inquiry: art history, literary criticism, analytical philosophy, musicology, and aesthetics.

In the late-1960s Romania, during the relative cultural thaw of the post-Stalinist period, Dumitru Tsepeneag emerged as an innovative writer of short prose and the pioneer of oneirism, a subversive theory and practice of literature that challenged not only socialist realism in particular but realism in general. By the early 1970s, following a cultural crackdown by the totalitarian state, oneirism had been banned and Tsepeneag was forced into exile in France. Short Prose, Volume 1, collects the three volumes of short stories that Tsepeneag published in Romania before going into exile: Exercises (1966), Cold (1967), and Waiting (1971), along with previously unpublished shorter texts from the same period.

It wasn't until after Dumitru Tsepeneag fled Romania for France in 1971 that he was able to speak frankly about the literary movement that he had helped create.

"A man, a writer, lives alone in a rather squalid Paris apartment. He is trying to write a novel, but he has nothing to say. He tries multiple beginnings, interspersed with one digression (but from what?) after another. In the hope of finding subject matter for his would-be realistic story, he then sends letters to three friends - Edmond, Edgar, and Edourd - with a list of questions about their lives, some rather personal inquiries, some bordering on the obscene. The responses are not very helpful, and even seem suspiciously untrue. Out of this melange of stops and starts, false information, questionable memories, pieces of this and that, an insanely comic novel starts to emerge." "Dumitru Tsepeneag takes us into a game of memory and storytelling, where the tenderness of the past clashes with the comedy of the present, and where fictional characters and actual friends mingle in the play of the imagination."--BOOK JACKET.

What is the legacy of Theory after the deaths of so many of its leading lights, from Jacques Derrida to Roland Barthes? Bringing together reflections by leading contemporary scholars, Dead Theory explores the afterlives of the work of the great theorists and the current state of Theory today. Considering the work of thinkers such as Derrida, Deleuze, and Levinas, the book explores the ways in which Theory has long been haunted by death and how it might endure for the future.

This volume collects new short stories from one of Ireland’s leading writers in both the Irish and English languages. Eilis Ni Dhuibhne’s stories are widely acclaimed for their acute perception of Irish women’s lives, the power of her verbal economy, and her skillful and unique use of both humor and the fantastic.