Cline advances a suggestive reading of Justin Martyr's Apologies as a subjective appropriation of the forms and practices of the Roman system of petition and response. He offers an historical contextualization of the Apologies within both contemporary administrative culture and the wider literary environment, comparing the Apologies with extant Roman-era petitions, and using this comparison to shed light on Justin's transformations of the genre and their communicative significance.

A refereed journal published annually by the Canadian Society for Syriac Studies.

from Okazaki Fragmentsby Kanika Agrawal These proceedings in natureThese proceedings in cold biologyThese proceedings in chemical societyThese proceedings in physical communication We refer to the concentration of residuesWe observe that one sedimentsfaster than the otherWe presume as fact that most of what we dois in growing incompleteshort chainsWe further support the conclusionWe indicate direction alsoby another method We are grateful to Drs. BAX 2020, guest-edited by Joyelle McSweeney and Carmen Maria Machado, is the sixth edition of the critically acclaimed anthology series compiling an exciting mix of fiction, poetry, non-fiction, and genre-defying work. Featuring a diverse roster of new and established authors - including Anne Boyer, Alice Notley, and Raquel Salas Rivera - BAX 2020 presents an expansive view of high-energy writing.

SOME JOY FOR MORNINGNow the connection with springhas dissolved. Now that hysteriais blooming.Says every day I want to fly my kite. Says what's a grammar when you is no longer you.My world is hydrogen burning in space and inthe fullness of etc. I have read the news andlearned nothing.I try to understand thewhooshing overhead. But for alittle light now.I didn't realize the treewas weeping. How was I toknow I am not alone. Wildlight.The poems in this brilliant follow-up to the National Book Award finalist Archeophonics, are concerned with grieving, with poetry and death, with beauty and sadness, with light. As Ben Lerner has written, "Gizzi's poetry is an example of how a poet's total tonal attention can disclose new orders of sensation and meaning. His beautiful lines are full of deft archival allusion." With litany, elegy, and prose, Gizzi continues his pursuit toward a lyric of reality. Saturated with luminous detail, these original poems possess, even in their sorrowing moments, a dizzying freedom.

This book focuses on the 20th century lives of men and women whose life-work and life experiences transgressed and surpassed the national boundaries that existed or emerged in the 20th century. The chapters explore how these life-stories add innovative transnational perspectives to the entangled histories of the world wars, decolonization, the Cold War and post-colonialism. The subjects vary from artists, intellectuals, and politicians to ordinary citizens, each with their own unique set of experiences, interactions and interpretations. They trace the building of socio-cultural and professional networks, the casual encounters of everyday life, and the travel, translation, and preserving of life stories in different media. In these multiple ways the book makes a strong case for reclaiming lost personal narratives that have been passed over by more orthodox nation-state focused approaches. These explorations make use of social and historical categories such as class, gender, religion and race in a transnational context, arguing that the transnational characteristics of these categories overflow the nation-state frame. In this way they can be used to ‘unhinge’ the primarily national context of history-writing. By drawing on personal records and other primary sources, the chapters in this book release many layers of subjectivity otherwise lost, enabling a richer understanding of how individuals move through, interact with and are affected by the major events of their time. "Taking up what the editors refer to as the ‘casual border crossings of everyday life,’ this collection considers how lives are made in, through, beyond, and in spite of, nation-state configurations. The essays demonstrate that transnational encounters – human, material, conceptual, and translational – enable unique and sometimes unexpected contact zones, and further, show how a transnational lens can complicate and unsettle understandings of class, race, gender, and ethnicity, but also, and importantly, life writing and transnationalism themselves." - Prof. dr. Sonja Boon, Memorial University of Newfoundland, Canada "This volume is a call to question national contexts as self-evident starting points for life writing. Rather than presenting a limiting method or perspective on the transnational lives of the central figures (and objects) in each chapter, the authors show that unhinging the national framework implies grappling with discursive powers such as archival arrangements, international networks as legacies of past imperial spaces, and inequalities in terms of gender, race, class, and language. Unhinging the national framework also helps demonstrate how national frameworks push and pull, while transnational allegiances add up, overlap, and conflict. The evocative episodes of the lives (and in some cases the deaths) of the volume’s historical actors help us, as readers, to reflect on the continued dominance of national frameworks in our current globalized world, and what they mean in our own lives." - Prof. dr. Susan Legêne, Vrije Universiteit Amsterdam, Netherlands

Higgitt examines Isaac Newton's changing legacy during the nineteenth century. She focuses on 1820–1870, a period that saw the creation of the specialized and secularized role of the "scientist." At the same time, researchers gained better access to Newton's archives. These were used both by those who wished to undermine the traditional, idealised depiction of scientific genius and those who felt obliged to defend Newtonian hagiography. Higgitt shows how debates about Newton's character stimulated historical scholarship and led to the development of a new expertise in the history of science.

Austrian writer and 2004 Nobel Prize in Literature winner Elfriede Jelinek has never shied away from bringing up painful issues within the discourse of modernity. In her oeuvre of over sixty plays and novels she has worked time and again on a vast variety of related topics spanning from the repression of the weak to the fascisms of everyday life in consumerist societies. Elfriede Jelinek Goes Australia: Indigenising an Austrian Nobel Prize Winner is the first volume entirely published on Jelinek’s work in Australia and gathers a series of analyses around Princess Dramas at Red Stitch Actors Theatre - the first-ever production of one of her plays on an Australian stage, in Melbourne, 2011. It discusses questions of the Austrian writer’s complex writing strategies, potential problems of cultural transfer, the international reception of Jelinek’s work, and the contribution her work for theatre can make to a series of fundamental aspects of the global discourse of current times: feminism, sports and racism.

In the nightstands of hotel rooms, kept under lock and key, in the poetry of a pre-apocalyptic environmental cult, and quoted by children, atheists, and murderers alike - the Bible is omnipresent in the work of Margaret Atwood. The Bible is found not only in her novels but also in her poetry, short stories, and non-fiction work. "Who Knows What We'd Make of It, If We Ever Got Our Hands on It? ” assembles cutting edge literary and critical readings of Margaret Atwood and the Bible. In the nightstands of hotel rooms, kept under lock and key, in the poetry of a pre-apocalyptic environmental cult, and quoted by children, atheists, and murderers alike—the Bible is omnipresent in the work of Margaret Atwood. This volume, the first of its kind, assembles cutting-edge literary and critical readings of Atwood and the Bible. The essays span the breadth of Atwood’s work, including The Handmaid’s Tale, Alias Grace, the MaddAddam trilogy (Oryx and Crake, The Year of the Flood, and MaddAddam), poetry, essays, and more. Taking as a model Atwood’s own playful dialogues with the Bible, the contributors employ a variety of theoretical approaches (feminist, deconstructionist, animal theory, affect theory, and so on) to explore both the ancient and modern corpus of texts in dialogue with each other. In The Handmaid’s Tale, the Bible is famously used as a text that structures an entire society—though for precisely this reason it is a dangerous text that must be controlled by the elite, kept out of the hands of those who may turn it into an “incendiary device.” This volume explores what happens when Atwood, and we as readers, take the Bible into our own hands.

The Journal of Language Relationship is an international periodical publication devoted to the issues of comparative linguistics and the history of the human language. The Journal contains articles written in English and Russian, as well as scientific reviews, discussions and reports from international linguistic conferences and seminars.

Along with Benedict Arnold, Simon Girty was one of the most hated men in early America. The son of an Irish immigrant, he was raised on the western Pennsylvania frontier but was captured by the Senecas as a teenager and lived among them for several years. This able frontiersman might be seen today as a defender of Native Americans, but in his own time he was branded as a traitor for siding with First Nations and the British during the Revolutionary War. He fought fiercely against Continental Army forces in the Ohio River Valley and was victorious in the bloody Battle of Blue Licks.In this classic work, Richard Taylor artfully assembles a collage of passages from diaries, travel accounts, and biographies to tell part of the notorious villain's story. Taylor uses the voice of Girty himself to unfold the rest of the narrative through a series of interior monologues, which take the form of both prose and poetry. Moments of torture and horrifying bloodshed stand starkly against passages celebrating beautiful landscapes and wildlife. Throughout, Taylor challenges perceptions of the man and the frontier, as well as notions of white settler innocence.Simon Girty's bloody exploits and legend made him hated and feared in Kentucky and the Ohio River Valley, but many who knew him respected him for his convictions, principles, and bravery. This evocative work brings to life a complex figure who must permanently dwell in the borderland between myth and fact, one foot in each domain.

In this powerful epistolary novel, acclaimed Anishinaabe author Gerald Vizenor interweaves history, cultural stories, and irony to reveal a shadow play of truth and politics. Basile Hudon Beaulieu lives in a houseboat on the River Seine in Paris between 1932 and 1945. He observes the liberals, fascist, artists, and bohemians, and presents puppet shows with his brother. His thoughts and experiences are documented in the form of fifty letters to the heirs of the fur trade. Vizenor is a unique voice of Native American presence in the world of literature, and in his inimitable creative style he delivers a moving, challenging, and darkly humorous commentary on modernity.

Priest’s debut collection, Horsepower, is a cinematic escape narrative that radically envisions a daughter’s waywardness as aspirational. Across the book’s three sequences, we find the black-girl speaker in the midst of a self-imposed exile, going back in memory to explore her younger self - a mixed-race child being raised by her white supremacist grandfather in the shadow of Churchill Downs, Kentucky’s world-famous horseracing track - before arriving in a state of self-awareness to confront the personal and political landscape of a harshly segregated Louisville. Out of a space that is at once southern and urban, violent and beautiful, racially-charged and working-class, she attempts to transcend her social and economic circumstances. Across the collection, Priest writes a horse that acts as a metaphysical engine of flight, showing us how to throw off the harness and sustain wildness. Unlike the traditional Bildungsroman, Priest presents a non-linear narrative in which the speaker lacks the freedom to come of age naively in the urban South, and must instead, from the beginning, possess the wisdom of “the horses & their restless minds.”

What is the imagination’s role in human cognition and culture? This book explores the hypothesis that such role is larger than we commonly think: imagination is the key to understand many important domains of our lives – including religion, superstition, and ideology – that are often taken to be the province of belief alone. Combining traditional methods of philosophical inquiry with relevant findings from cognitive and social sciences, the author seeks to provide solid empirical support for that hypothesis, on the one hand, and to explore its important theoretical and practical implications, on the other. A novel, substantive theory of the imagination emerges as a result. Imagination, on this view, does not just allow us to escape from reality into fictional worlds, but plays a key, direct role in our representation of (and practical engagement with) the real world itself.

Shortlisted for 2020 Center for Fiction's First Novel PrizeCorey Sobel challenges tenacious stereotypes in this compelling debut novel, shedding new light on the hypermasculine world of American football. The Redshirt introduces Miles Furling, a young man who is convinced he was placed on earth to play football. Deep in the closet, he sees the sport as a means of gaining a permanent foothold in a culture that would otherwise reject him. Still, Miles's body lags behind his ambitions, and recruiters tell him he is not big enough to compete at the top level. His dreams come true when a letter arrives from King College.The elite southern school boasts one of the best educations in America and one of the worst Division One football programs. King football is filled with obscure, ignored players like Miles -- which is why he and the sports world in general are shocked when the country's top recruit, Reshawn McCoy, also chooses to attend the college. As brilliant a student as he is a player, the intensely private Reshawn refuses to explain why he chose King over other programs.Miles is as baffled as everyone else, and less than thrilled when he winds up rooming with the taciturn Reshawn. Initially at odds with each other, the pair become confidants as the win-at-all-costs program makes brutal demands on their time and bodies. When their true selves and the identities that have been imposed on them by the game collide, both young men are forced to make life-changing choices.

CAMINO IMAGINADO Blue leaves, hojas rotas in the shape of stars.Ni un "no" en tu vocabulario but for others;blue in place of green in the shape of Spain.Ojos the color of dirt, chocolate, coffee, time,azules las horas, hojas de horas van y se van,ni una palabra, ni una queja, nor broken bita tu lado beside me andamos walking, sí walkingcaminamos caminos like these, such streets, whatcity. 7/15/95 Paris Xicancuicatl collects the poetry of leading avant-garde Chicanx poet Alfred Arteaga (1950–2008), whom French philosopher Gilles Deleuze regarded as "among those rare poets who are able to raise or shape a new language within their language." In his five published collections, Arteaga made crucial breakthroughs in the language of poetry, basing his linguistic experiments on the multilingual Xicanx culture of the US Southwest. His formal resources and finely tuned ear for sound patterns and language play remain astonishing. His poetical work, presented as a whole here for the first time, speaks more than ever to a moment in which border-crossing, cultural diversity, language-mixing and a multi-cultural vision of America are critical issues.

Simonides of Keos was one of the most important praise-poets of the early fifth century BCE, ranking alongside Pindar and Bacchylides. In Simonides Lyricus, a group of leading international experts revisit familiar questions about his lyric poetry, and pose new ones. Themes discussed include textual criticism and attribution of fragments; poetic genre and the place of the poet’s melic fragments in his larger oeuvre; the historical, cultural and political background of the poems; and Simonides’ afterlife in the biographical and anecdotal traditions that formed around his name. The volume makes a substantial contribution to modern discussions of Simonides’ place in Greek literary and cultural history and to the understanding of this poet’s often fragmentary and difficult texts.