Nolan, Jerry 2004 0-7734-6492-1 246 pages The many roles which Edward Martyn filled in order to realize his dreams of reform in the Irish Revival are comprehensively explored in this collection of essays. Martyn’s roles included host, patron, novelist, playwright, satirist, aesthete, collector of books and pictures, benefactor, journalist, and theatre director. His many activities, often forgotten or misunderstood, are documented here and set forth, for the first time, in the wider context of the multifaceted movement of Irish cultural nationalism which involved Martyn in developing relationships with fellow revivalists such as George Moore, Lady Gregory, Arthur Griffiths, D. P. Moran, Standish James O’Grady, and W. B. Yeats. This distilled analysis of the origins, development and failure of many of Martyn’s reforms extends to a probing of the roots of Ireland’s failure to achieve cultural independence during the 1920s and 30s when the very type of provincialism which Martyn so vehemently opposed became the conventional wisdom of the newly independent Irish Free State.
Keller, Frances Richardson 1988 0-88946-637-8 220 pages The first translation and publication of a 1925 doctoral dissertation written for the University of Paris by a 67-year-old Black American expatriate woman who had been born a slave. Her study of the French revolutionists' view of slavery is crucial to understanding the growth of human rights.
Idris, Amir 2001 0-7734-7619-9 176 pages The civil war in the Sudan has been generally misunderstood in the Sudanese and Western academic worlds as war between an Arab Muslim North and an African Christian South. This work examines how ‘African’ and ‘Arab’, as competing racial identities, have been produced in the Sudan, and interprets the roles of various actors with different interests in creating these identities.
Dorsinville, Max 2004 0-7734-6576-6 212 pages This study is a contribution to literary and cultural history. It argues that, as mirrored acts of representation, the visual and verbal yield a common language based on the image defined by Ezra Pound as ‘an intellectual and emotional complex in an instant of time.’ The study refers to other modernist writers such as Joseph Conrad, T. S. Eliot, and Ernest Hemingway, the photography of Henri Cartier-Bresson, and the theories on perception of Maurice Merleau-Ponty, Jean-Paul Sartre, and John Berger. It applies these perspectives to the works of diverse writers who chose Cuba for a subject, finding a rich field for discussion of issues of representation, language and perception. In the concept of the gaze, it argues for the significance of a link between modernist theory and Cuban life represented in a range of works by Cristina Garcia, Edmundo Desnoes, Pico Iyer, Derek Walcott, and others, where nothing is what it seems.