Kelvin Smith Library celebrates scholarship at Case Western Reserve University by recognizing faculty authors in the Case School of Engineering, College of Arts and Sciences, and the Weatherhead School of Management who have written or edited books.
Scholars have long described modernism as "heretical" or "iconoclastic" in its assaults on secular traditions of form, genre, and decorum. Yet critics have paid surprisingly little attention to the related category of blasphemy - the rhetoric of religious offense - and to the specific waysthis rhetoric operates in, and as, literary modernism. United by a shared commitment to "the word made flesh," writers such as James Joyce, Mina Loy, Richard Bruce Nugent, and Djuna Barnes made blasphemy a key component of their modernist practice, profaning the very scriptures and sacraments thatfueled their art. In doing so they belied T. S. Eliot's verdict that the forces of secularization had rendered blasphemy obsolete in an increasingly godless century ("a world in which blasphemy is impossible"); their poems and fictions reveal how forcefully religion endured as a cultural force afterthe Death of God. More, their transgressions spotlight a politics of religion that has seldom engaged the attention of modernist studies. Blasphemy respects no division of church and state, and neither do the writers who wield it to profane all manner of coercive dogmas - including ecclesiastical aswell as more worldly ideologies of race, class, nation, empire, gender, and sexuality. The late-century example of Salman Rushdie's The Satanic Verses affords, finally, a demonstration of how modernism persists in postwar anglophone literature and of the critical role blasphemy plays in thatpersistence. Blasphemous Modernism thus resonates with the broader cultural and ideological concerns that in recent years have enriched the scope of modernist scholarship.
Le code de l'indigénat : "une monstruosité juridique" ? Instrument d'embrigadement, ce régime de décrets, arrêtés, notes de services, etc. . . fut une arme imparable entre les mains des administrateurs coloniaux. Piètre méthode de brigandage, il servit de moyen de plumage des indigènes. Instrument de terreur, il servit à asseoir la toute puissance des gouverneurs et leur adjoints et après les indépendances, la toute puissance des tortionnaires que de Gaulle et Foccart placent à la tête des nouvelles nations francophones.
New information technologies have, to an unprecedented degree, come to reshape human relations, identities and communities both online and offline. As Internet narratives including online fiction, poetry and films reflect and represent ambivalent politics in China, the Chinese state wishes to enable the formidable soft power of this new medium whilst at the same time handling the ideological uncertainties it inevitably entails. This book investigates the ways in which class, gender, ethnicity and ethics are reconfigured, complicated and enriched by the closely intertwined online and offline realities in China. It combs through a wide range of theories on Internet culture, intellectual history, and literary, film, and cultural studies, and explores a variety of online cultural materials, including digitized spoofing, microblog fictions, micro films, online fictions, web dramas, photographs, flash mobs, popular literature and films. These materials have played an important role in shaping the contemporary cultural scene, but have so far received little critical attention. Here, the authors demonstrate how Chinese Internet culture has provided a means to intervene in the otherwise monolithic narratives of identity and community. Offering an important contribution to the rapidly growing field of Internet studies, this book will also be of interest to students and scholars of Chinese culture, literary and film studies, media and communication studies, and Chinese society.