Robert Eisenhauer (69 results)

Condition: As New. Signed Copy . Paperback edition. Inscribed by author on front inside cover.

Soft cover. Condition: Very Good. No Dust Jacket. Bottom corner bumped. Otherwise this book is clean and unmarked in very good condition. 114 pages.

Paperback. Condition: Good. Satisfaction 100% guaranteed.

Condition: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Hardcover. Condition: Very Good. ex school text book.no markings.

Hardcover. Condition: Fine. Glossy pictorial hardcover in FINE as NEW condition.

Soft cover. Condition: Very Good. 248pp. Card wraps show show light wear at edges, overall bright. Binding is tight; text in unmarked.

Softcover. Condition: Fine. First Edition. First edition. Fine in wrappers, a paperback. Like new.

Hardcover. Condition: Fine. No Jacket. 2006 hardcover published without jacket/clean & unmarked. 210 p.

Hardcover. 262pp. Fine, clean & sound condition, published without dust jacket.

Soft Cover. Condition: Very Good. 175 pp. Vol. 9, No. 2, Fall 1980 issue only! ISSN: 0090-5674. A great, almost spotlessly clean copy! Solidly and tightly bound, essentially and nearly flawless copy with minimal internal and external wear and use. Copy with crisp pages, clean text, and light shelf wear. Smooth covers. Creased spine.…

Unknown. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: New. Brand New Hardcover Book, Crisp and Clean.

Soft cover. Condition: Very Good. No Jacket. 1st Edition. Softcover in Very Good condition. Ex-Library of Congress copy, with LOC sticker on the back cover, red stamp on the title page, and stamp on the facing copyright page. Remainder mark on bottom page edge. Purple covers have slight shelfwear, small thumb creasing on back cover. Tight and square. No other markings noted. Photos available on request. …

Hardback. Condition: Very Good. Bound in lightly creased green glazed boards. 220 x 150 mm. [xii] 266 pp. Book.

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: AS NEW. Etat de NEUF / AS NEW condition 0820474967 9780820474960 PC442 1.

Condition: New. In English.

Condition: AS NEW. Etat de NEUF / AS NEW condition 0820472522 9780820472522 PC434 2.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Soft cover. Condition: Poor. Dust Jacket Condition: Fair. 1st Edition. private library liquidation faded well used and read.

Condition: New. Series: Studies on Themes and Motifs in Literature. Num Pages: 217 pages, illustrations. BIC Classification: DSBF; DSBH. Category: (G) General (US: Trade). Dimension: 158 x 236 x 22. Weight in Grams: 538. . 2007. New. hardcover. . . . .

Condition: New. In English.

Hardback. Condition: New. Focusing on specimens of discourse where criticism assumes a flagrantly bucolic persona, Archeologies of Invective investigates hitherto little acknowledged contexts of irony, aggressivity, and vilification. After considering briefly Lucilius and Horace, the author evaluates such diverse figures as Poggio Bracciolini, Quevedo, Dunbar, Poe, and Mencken before proceeding to sustained discussion of Goethe's Italian Journey, Werther, and the «Invektiven.» In terms of prime-time satiric virtuosity, Byron's Don Juan recycles pastoral animus, acting as a rogue-like mirror-text of the Schiller/Goethe Xenien of the late 1790s. Sidney's double sestina and Villon's «Ballad of the Women of Paris» are seen inaugurating the modern age, while, at the dawn of the avant-garde, Verlaine's «Invectives» sample Goethean and Villonesque attitude at a new level of recherché «vulgarity.» Low- and Highbrow, outlaw and Philistine resurface in Wyndham Lewis's Arcadian perspective on the artist-intellectual. Poets Robert Frost and Theodore Enslin are seen reinvigoratoring the edgily «agrest» scene of invective in America. Archeologies of Invective situates itself also with respect to a psychohistorical terrain - altered states of consciousness reflecting Faustian transition: the dislocation of the peasant class, the empowerment of women as a heterological «state within a state,» the advent of modern weaponry, and the rise of alcohol - whose genealogy becomes nothing short of a «gin-eology.» Stable notions of character give way to impersonal, pantomimic terms of art, such as caliber; the hero is displaced by the wanderer, thief, madman, and clown. Not limiting itself to the literary canon, Archeologies includes analyses of gangster films and sports legends in the context of Arcadian motivation. Finally, Eisenhauer places Philip Roth's American Pastoral within the arc of 19th-century pastoral fiction, locating a prosaic «Nowadays» in which criticism is still inscribed, as evidenced by Fish's explication of pastoral in the context of professional correctness.…

Buch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - With two essays devoted to Wordsworth, The Fate of Translation reframes the discussion of Hesperian aesthetics initiated in Robert Eisenhauer's Mythic Paradigms, suggesting how the question of translation poses itself at the crossing of textual high- and low-roads: on the one hand, in the critical and scholarly debate concerning the relevance of Goethe's 'Der Wandrer' (in the English version by William Taylor) to the primal/primary scene of autobiography and, on the other, in the reprojection of supernatural agency ( numen ) in the context of the Literature of Power. Confrontational deixis and a hermeneutic counterturn energize Wordsworth's self-assertive resensing of antiquity and modernity via satire, pastoral, and the sonnet. The third essay, ranging from Pindarizing texts by Cowley, Goethe, and Hölderlin to the films of Matthew Barney, shifts the focus to mimetic enthusiasms among translators and replicators of the 'full fan-experience.' John Barth's intriguing analogy between metafiction and fractal geometry serves as the catalyst for a reading of texts by Thomas Browne and Friedrich Schlegel, a major painting by Philipp Otto Runge, and The Arabian Nights as malignly received by Poe. The arabesque and grotesque are seen as engaged in a problematics of passion at the utopian end of art, a consensualist paradigm akin to the Dionysian liberation of the subject/player/fan in baseball - one whose field of implication includes Nietzsche and contemporary novelists. Eisenhauer reads Padgett Powell's Edisto as a declamatory mini-epic divergent in its muthos from the tradition of the 'American hieroglyphic'. Edisto's fictive reinvention of the South suggests a revisiting of the Literature of Power as priviledged, emancipative counterfacticity of 'other truth' congruent with the fictive worlds of Cable, Faulkner, and Günther Grass.…

Buch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - After Romanticism explores the ground common to European romanticism and American modernism, a space of translation and echoing where gulfs of ironic difference open between islands of topographic similarity, where literary history is subject to fictive renegotiation. Robert Eisenhauer situates Truman Capote's texts within the artistic/philosophical orbit of Novalis and Friedrich Schlegel, at the same time reading Answered Prayers as a validation of Baroque mysticism, a revisiting of controversies surrounding Lucinde, and a modernist take on Shelley's Triumph of Life. In the second essay, the author unpacks the signifiers Cristal and crystal, assessing their role in the rhetoric of metahistory. Breakfast at Tiffany's is seen embodying the exotic «trans» underlying representation itself, the disappointed searching of Schiller's sentimental consciousness. Discussing two cinematic interpretations of Terence Rattigan's play The Browning Version, Eisenhauer traces the use/abuse of names in the rhetoric of academic and political vilification. Drawing on such diverse sources as Aeschylus, Browning, Golding, and Adorno, he finds the current state of discourse in need of «heavy teaching», so that the repressed subject of democracy/tyranny can surpass the psychopathology of the Same. Analyzing Fellini's radical revision of an Edgar Allan Poe short story, the author suggests how inscrutability saves the audience from guilt because the viewer cannot arrive at apodictic certainty concerning the «subject screened». While Poe lampoons «the transcendentals» as a kind of disease, implying readerly guilt by association, and solidifying the letter, Fellini, by valorizing theatrical illusion, fails to translate a text that teaches the reader more than he or she is prepared to know. After Romanticism concludes with an imaginary conversation (echoing the pedagogical dynamic of Henry James's «The Pupil») in which a still problematic «translation» of a poetic text by the arch-modernist Gertrude Stein is discussed.…

Buch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - Aftermyths investigates fault-lines in literary and visual representation from 1870 to the early twentieth century as they range from a faux essentialism, often with ethnic overtones, to a 'cadence of decadence' reflecting the dissensions of modernity. Reading Henry James and Mark Twain with side-glances to the cartoon revolution of Rudolf Dirks and Richard Felton Outcault, Robert Eisenhauer delves into the archive of frontier or histrionic 'decadence,' 'Americanness,' and 'Germanness.' Pastoral idiom and foreign words, 'incomprehensible to us as so many dead languages,' reflect Hesperian micrology on the part of the Übergossiper James, a discursive 'katzenjammer' effect, while Twain's difficulties with German exemplify a strategy of emancipation informed by minstrel-like showmanship and a river or streetwise skepticism. In addition, Eisenhauer applies key concepts of Walter Benjamin's Arcades Project to New York City after 1920. Mayor Jimmy Walker and urban planner Robert Moses are seen as Dionysian and Apollonian instances contesting the meta-arcades of Manhattan at the intersection of epic, lyric, and drama. Outcault's 'Opera in Ryan's Arcade' vernacularizes the difference between uptown and downtown, high art and low 'un-art.' With the premise that Freud's definition of caricature in Totem and Taboo remains valid, Aftermyths goes on to investigate the bear as a mimetic paradigm for Nietzsche's 'not yet determined animal' homo sapiens. Finally, Eisenhauer suggests affinities between two fictions of immortality, Grass's Flounder and Hamill's Forever, before returning to the downtown scene for remarks on Richard Foreman's Ontological-Hysteric Theatre.…