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Beat Myths in Literature reassesses the work of women poets associated with the Beat Generation from the critical lens of revisionist discourses. Using the metaphor and the critical lens of looking back, an act infused with feminist implications after Adrienne Rich (1972), the volume focuses on poetry, fiction, and autobiographical writing to analyze the different ways in which Beat women used revisionist discourses to refashion the Beat Generation and establish themselves as literary and artistic subjects. Offering the first comprehensive study of the use of mythology in the Beat Generation, Beat Myths in Literature: Revisionist Strategies in Beat Women focuses on the specific re-writing or revisioning of mythical texts. As such, it studies the ways in which Beat poets incorporate mythology into their works, both through the feminist reinvention or appropriation of ancient myths, but also by debunking more contemporary myths used to contain women in particular social and artistic roles. Furthermore, this volume expands Rich's notion of re-vision, considering memoirs and autobiographies as factual and fictional re-interpretations of history. Seen through the eyes of revisionist studies and the poets'investment in “personal myth”, the book establishes new points of entrance into works that allow us to explore the feminist, political, and poetical relevance of the work of Beat women

An introduction to ancient myths and the critical discussions that surround them, this book dives into the stories of pre-modern culture, taking a comparative look at how they have shaped the West and modern storytelling as we have come to understand it today. It makes texts and scholarship from near Eastern, Classical and Celtic disciplines engaging and accessible, and traces narrative meaning through stories from ancient Mesopotamia to the BritishMedieval Period, offering compelling pathways into such writings as The Epic of Gilgamesh, Genesis and Job, The Odyssey, The Mabinogi, The Life of St Cadoc and Sir Orfeo. Looking at each in detail, Myths and Ancient Stories also explores myth through a modern lens, probing at how, in this scientific age, it continues to inspire contemporary film, games and literary works such as those by, Margaret Atwood, Colm Tóibín, Madeleine Miller and Pat Barker. Impressive in breadth and bringing together a wide range of foundational texts from diverse traditions for the first time, this work is the ideal orientation to the ancient works central to English literary culture, shedding light on the mythological roots of storytelling and narrative.

This interdisciplinary volume explores the ancient Greek myth of Medea and its global analogues found in other mythic and folk tales of deadly, exiled women, such as those of La Malinche and La Llorona, examining the connections between these figures and their depictions from antiquity to modernity.The book considers the figure of the foreign woman, her exile, fratricide, and infanticide, in its ancient Greek form and in global, postcolonial receptions in a range of media, including drama, film, novels, and the visual arts. The chapters illuminate the contradictions of considering the classical Medea as a central reference point for analysis of other female figures from peripheral territories, while simultaneously acknowledging the insights that such comparisons can yield. Emphasizing the ways in which Medea's seditious nature enables the establishment of an extensive and heterogeneous intertextual network with other mythic characters who represent a similarly disruptive role in their specific local historical and cultural contexts, the book argues for a comparative analysis that is equally attentive to myths and folk tales from all regions. These essays – by scholars of classics, comparative and world literatures, and postcolonial studies – represent a plurality of perspectives from different academic contexts in Africa, Latin America, North America, and Europe and examine how different cultures have depicted women, foreigners, crime, and abjection. The foundations of Greek myth and subsequently of the classical tradition itself are interrogated from a postcolonial perspective. In tracing the portrayals of Medea and other mythic women through the overlapping features of different female characters and plots, and intertwining local cultural and literary materials with broader debates, this volume challenges Eurocentric narratives of power and cultural domination, and works to decentralize the discussion of Medea from the exclusive domain of classical studies.Medea's Long Shadow in Postcolonial Contexts will be of interest to students and scholars working on Greek tragedy and its reception, as well as to those studying postcolonial and global approaches to literature, culture, and gender studies.

Author Robert Penn Warren's fiction captures centuries worth of mythology and folklore from all across the globe--from Hebrew, Norse, Roman and Caribbean mythology, to Arthurian legends. This work explores the inspirations and hidden heroes in his works, beginning with his first novel, Night Rider, and extending through his fifth, Band of Angels. The fascinating ways, both blatant and obscure, that Warren incorporates religious practices and ancient legends into his early works are revealed.

This volume is the first to discuss the canon of Pope's verse in relation to Early British Enlightenment thinking about mythology and mythography. Pope did not merely use classical (along with non-classical) mythology in his verse as a traditional, richly diverse medium through which to represent the diversity of private and civic life in his day, but he was an ambitious translator as well as refashioner of myth. It is a medium that he shapes anew and variously across all his major poems. This volume enhances appreciation of myth as a mode of apprehension as well as expression throughout Pope's verse. In doing so it illuminates how, in early eighteenth-century Britain, understandings of what myth is and what it does were taking new directions – not least in response to Baconian thought and its legacy.

Around the turn of the nineteenth century, no task seemed more urgent to German Romantics than the creation of a new mythology. It would unite modern poets and grant them common ground, and bring philosophers and the Volk closer together. But what would a new mythology look like? Only one model sufficed, according to Friedrich Schlegel: Dante's Divine Comedy. Through reading and juxtaposing canonical and obscure texts, Dante in Deutschland shows how Dante's work shaped the development of German Romanticism; it argues, all the while, that the weight of Dante's influence induced a Romantic preoccupation with authority: Who was authorized to create a mythology? This question—traced across texts by Schelling, Novalis, and Goethe—begets a Neo-Romantic fixation with Dantean authority in the mythic ventures of Gerhart Hauptmann, Rudolf Borchardt, and Stefan George. Only in Thomas Mann's novels, DiMassa asserts, is the Romantics'Dantean project ultimately demythologized.

Dans une perspective innovante et interdisciplinaire (éthique, mythocritique, sociocritique, psychanalyse, théories du genre), des figures mythiques féminines et autres, révélatrices de notre regard sur le monde, sont ici analysées sous les aspects variés de leurs transformations dans la littérature, le cinéma et à travers des événements historiques de ce dernier siècle. Les treize auteures des essais qui composent ce volume, venues de dix pays et de quatre continents, présentent la manière dont les mythes grecs, bibliques, africains – parfois sources de nouveaux mythes nés de conflits ou traumatismes modernes – permettent de rendre visibles les paradigmes de pensée qui conditionnent les rapports humains, surtout la perception du corps encore sous l'emprise d'un imaginaire collectif soumis à la domination patriarcale. Within an innovative and interdisciplinary framework including ethics, myth criticism, sociocriticism, psychoanalysis and gender theories, mythical figures, feminine and others that reveal the ways we perceive the world, are being analyzed in light of the various aspects pertaining to their transformations through the literature, cinema and historical events of this past century. The contributors of the thirteen essays that comprise the present volume, originating from ten countries and four continents, elaborate the manner in which Greek, Biblical and African myths, occasionally generating new myths borne out of contemporary conflicts or traumas – unveil the belief systems that define human relationships, in particular the perception of the body, still subject to a collective imaginary conditioned by the patriarchal supremacy.

Myth criticism flourished in the mid-twentieth century under the powerful influence of Canadian thinker Northrop Frye. It asserted the need to identify common, unifying patterns in literature, arts, and religion. Although it was eclipsed by postmodern theories that asserted difference and conflict, those theories proved incapable of inspiring solidarity or guiding social action. The Productions of Time argues for a return to myth criticism in order to refine and extend its vision.With the aim of rehabilitating myth criticism for our time, Michael Dolzani sketches an anatomy of the imagination as demonstrated in the total body of its productions, including literature, mythology, the arts, popular culture, and religious and political texts. Dolzani situates a vast panoply of images, character types, plot structures, themes, and genres to better understand their purposes, their recurrences across broad spans of history, and their interrelations. Illustrating the relationship between mythology and history, The Productions of Time proposes a symbolic language as a way of enabling dialogue across ideological and individual differences.Arguing for the ethical and intellectual necessity of conceiving a unifying pattern that transcends differences, The Productions of Time demonstrates that imagination is part of the human inheritance, common to all, not just to poets and mystics.

This book is the first major study that explores the intrinsic connection between music and myth, as Nietzsche conceived of it in The Birth of Tragedy (1872), in three great works of modern literature: Romain Rolland's Nobel Prize winning novel Jean-Christophe (1904-12), James Joyce's modernist epic Ulysses (1922), and Thomas Mann's late masterpiece Doctor Faustus (1947). Juxtaposing Nietzsche's conception of the Apollonian and Dionysian with narrative depictions of music and myth, Josh Torabi challenges the common view that the latter half of The Birth of Tragedy is of secondary importance to the first. Informed by a deep knowledge of Nietzsche's early aesthetics, the book goes on to offer a fresh and original perspective on Ulysses and Doctor Faustus, two world-famous novels that are rarely discussed together, and makes the case for the significance of Jean-Christophe, which has been unfairly neglected in the Anglophone world, despite Rolland's status as a major figure in twentieth-century intellectual and literary history. This unique study reveals new depths to the work of our most enduring writers and thinkers.

The heroines of Greek tragedy presented in the plays by Aeschylus, Sophocles and Euripides have long captivated audiences and critics. In this volume each of the eleven chapters discusses one of the heroines: Clytemnestra, Hecuba, Medea, Iphigenia, Alcestis, Antigone Electra, Deianeira, Phaedra, Creusa and Helen. The book focuses on characterisation and the motivations of the women, as well as on those of the male playwrights, and offers multiple viewpoints and critiques that enable readers to understand the context of each play and form their own views. Four core themes bridge the depictions of the heroines: the socio-political dynamic of ancient Greek expectations of women and their roles in society, the conflict of masculinity versus femininity, the alternation of defiance and submission, and the interplay between deceit and rhetoric. Each chapter offers clear descriptions of plot and mythical background, and builds on the text of the plays to enable reflections on language and performance. All technical terms are explained and key topics or references are pulled out into box features that provide further background information. Discussion points at the ends of chapters enable readers to explore various topics more deeply.

After the Revolution, Americans realized they lacked the common, deep, or meaningful history that might bind together their loose confederation of former colonies into a genuine nation. They had been conquerors yet colonials, now politically independent yet culturally subordinate to European history and traditions. To resolve these paradoxes, some early republic'historians'went so far as to reconstruct pre-Columbian, transatlantic adventures by white people that might be employed to assert their rights and ennoble their identities as Americans.In Colonizing the Past, Edward Watts labels this impulse'primordialism'and reveals its consistent presence over the span of nineteenth-century American print culture. In dozens of texts, Watts tracks episodes in which varying accounts of pre-Columbian whites attracted widespread attention: the Welsh Indians, the Lost Tribes of Israel, the white Mound Builders, and the Vikings, as well as two ancient Irish interventions. In each instance, public interest was ignited when representations of the group in question became enmeshed in concurrent conversations about the nation's evolving identity and policies. Yet at every turn, counternarratives and public resistance challenged both the plausibility of the pre-Columbian whites and the colonialist symbolism that had been evoked to create a sense of American identity. By challenging the rhetoric of primordialism and empire building, dissenting writers from Washington Irving to Mark Twain exposed the crimes of conquest and white Americans'marginality as ex-colonials.

¿Cómo se traduce la idea de constelación mitológica en los artefactos culturales de los distintos espacios del hispanismo en épocas históricamente recientes? Las respuestas no podrían concretarse de otra manera, sino mediadas por la transversalidad, ya sea desde el punto de vista plural de los enfoques disciplinarios o de la insolvencia de la linealidad histórica como método de acercamiento a las nuevas mitografías. Aunque la literatura desempeña un rol protagonista en la modernización del mito en los mares hispanos —así lo atestiguan los estudios sobre narrativa, poesía y tratadística que conforman este volumen—, disciplinas como la psicología, la filosofía y la etnografía también se hacen aquí presentes, en un intento de arrojar luces sobre la multiplicidad (lo que no es lo mismo que totalidad) de manifestaciones del problema que nos ocupa.

Ever since his childhood and adolescence and before he became a legendary poet, George Gordon Noel, sixth Baron Byron, felt the sense of escaping from the anxieties of his traumatic present to the glorious worlds of Eastern history and mythology. In Eastern mythology, which he read and loved, Byron approached his own utopia and dystopia without distancing himself from current world affairs. He heard the voice of mythology in various forms: in Nature and its animate and inanimate elements, in nightingales, eagles, roses, trees, bushes, mountains, plains, oceans, stones, and rocks, and in ancient relics, among others. Nature and the ruins of the past spoke to him more truth about God, Man, and Nature than religion and history books. His immediate impressions while being on-the-spot, his mobility, his standing on the borderlines of fact and fiction, and his extensive references to Eastern mythology in his works, created a Byronic myth and enhanced the mythical quality of his works, especially Don Juan, Childe Harold's Pilgrimage, Cantos I and II, and his Oriental Tales—The Giaour, The Bride of Abydos, The Corsair, and The Siege of Corinth. Lord Byron became an archetype of a legendary celebrity, and his works and some of his characters, especially his Byronic Heroes and Heroines, became universal mythical characters. Among several questions, the book answers two major ones: First, how does Byron use Eastern mythology, including Greek, Persian, and Arabian in the above-mentioned works to render his own poetry mythological? And second, how do his personal affairs and mythological works contribute to the generation of the still living Byronic myth?

This book focuses on reinterpreting mythical China from the perspective of the cultural theory of big tradition. It is divided into two parts: the first explains the theoretical development and features of the Chinese version of big tradition, identifying the differences between the Eastern and Western cultural traditions (big tradition and great tradition). The second part then reinterprets the core values and mythical ideas of Chinese civilization and traditional culture from the perspective of big tradition.Moving beyond the small tradition of text centrism and using new methods and materials, the book reveals the original meaning and the cultural coding function of big tradition during the preliterate period. Drawing on integrated evidence from literature handed down from ancient times, oral and intangible cultural heritage, tangible culture, cross-cultures, image culture and unearthed documents, the book interprets Chinese cultural traditions and spiritual values from local, archaeological, experiential and survival perspectives, to help readers better understand the mythical codes and genes of early Chinese culture.

Why do contemporary writers use myths from ancient Greece and Rome, Pharaonic Egypt, the Viking north, Africa's west coast, and Hebrew and Christian traditions? What do these stories from premodern cultures have to offer us?The Metamorphoses of Myth in Fiction since 1960 examines how myth has shaped writings by Kathy Acker, Margaret Atwood, William S. Burroughs, A. S. Byatt, Neil Gaiman, Norman Mailer, Toni Morrison, Thomas Pynchon, Kurt Vonnegut, Jeanette Winterson, and others, and contrasts such canonical texts with fantasy, speculative fiction, post-singularity fiction, pornography, horror, and graphic narratives. These artistic practices produce a feeling of meaning that doesn't need to be defined in scientific or materialist terms. Myth provides a sense of rightness, a recognition of matching a pattern, a feeling of something missing, a feeling of connection. It not only allows poetic density but also manipulates our moral judgments, or at least stimulates us to exercise them. Working across genres, populations, and critical perspectives, Kathryn Hume elicits an understanding of the current uses of mythology in fiction.

The legend of Mélusine examined in a pan-European context.Readers have long been fascinated by the enigmatic figure of Mélusine - a beautiful fairy woman cursed to transform into a half-serpent once a week, whose part-monstrous sons are the ancestor of several European noble houses. Thisstudy is the first to consider how this romance developed from a local legend to European bestseller, analysing versions in French, German, Castilian, Dutch, and English. It addresses questions on how to study medieval literaturefrom a European perspective, moving beyond national canons, and reading Mélusine's bodily mutability as a metaphor for how the romance itself moves and transforms across borders. It also analyses key changes to the romance's content, form, and material presentation - including its images - and traces how the people who produced and consumed this romance shaped its international transmission and spread. The author shows how Mélusine's character is adaptedwithin each local context, while also uncovering previously unknown connections between the different branches of this multilingual tradition. Moving beyond established paradigms of separate national traditions, manuscript versusprint, and medieval versus Renaissance literature, the book integrates literary analysis with art historical and book historical approaches. LYDIA ZELDENRUST is a Leverhulme Early Career Fellow at the Department of English and Related Literature at the University of York.

Advocating a revised history of the eighteenth-century novel, Novel Cleopatras showcases the novel's origins in ancient mythology, its relation to epic narrative, and its connection to neoclassical print culture. Novel Cleopatras also rewrites the essential role of women writers in history who were typically underestimated as active participants of neoclassical culture, often excluded from the same schools that taught their brothers Greek and Latin. However, as author Nicole Horejsi reveals, a number of exceptional middle-class women were actually serious students of the classics. In order to dismiss the idea that women were completely marginalized as neoclassical writers, Horejsi takes up the character of Dido from ancient Greek mythology and her real-life counterpart Cleopatra, the queen of Egypt. Together, the legendary Dido and historical Cleopatra serve as figures for the conflation of myth and history. Horejsi contends that turning to the doomed queens who haunted the Roman imagination enabled eighteenth-century novelists to seize the productive overlap among the categories of history, romance, the novel, and even the epic.

Die Studie befasst sich mit der Verhältnisbestimmung von Mythos und Rationalität im modernen philosophischen und literarischen Diskurs. Ausgehend von einer Analyse der philosophischen Auseinandersetzung mit dem Phänomen Mythos um den Beginn des 20. Jahrhunderts werden zunächst Hermann Hesses und Thomas Manns jeweiliger Mythosbegriff untersucht, um im Anschluss daran ihr literarisches Mythenerzählen anhand von ausgewählten Romanen und Erzählungen zu beleuchten.Obwohl Hesse und Mann beide in der Verbindung von Mythos und Psychologie einen humanistischen Zugang zum Mythos sehen, unterscheiden sich ihre Strategien zum Umgang mit mythischem Erzählen grundlegend. Während man Hermann Hesses Ansatz mit dem Schlagwort ‚Mythos als Psychologie‘ umschreiben könnte, hat Thomas Mann für sein eigenes Mythenerzählen selbst die Formel ‚Mythos plus Psychologie‘ geprägt. So sieht Mann in Mythen einen Ausdruck des Irrationalen, der durch psychologische Durchleuchtung und Ironisierung erst „ins Humane umfunktioniert“ werden muss, um sich der politischen Instrumentalisierung entziehen zu können. Hermann Hesse dagegen schließt sich an C. G. Jung an und interpretiert Mythen als Verbildlichung psychischer Prozesse und transrationaler Erfahrung,en die bereits inhärent humanistisch sind.

Mit den Themen Mythos, Paradies und Translation werden in diesem Band drei zentrale Forschungsschwerpunkte von Michael Rössner, einem der profiliertesten Vertreter der deutschsprachigen Romanistik, aus unterschiedlichen Perspektiven diskutiert. Die internationale und transdisziplinäre Vielfalt der Beiträge zeigt nicht nur die weit reichende Resonanz von Rössners Œuvre, sondern legt auch Zeugnis ab von der außerordentlichen Fruchtbarkeit seiner humanistischen Lehre und von seinem weltoffenen Zugang zur Literatur. Das Spektrum reicht von der antiken Mythologie und historischen Gedächtnisforschung über Paradiesvorstellungen und Utopien bis hin zu Fragen der literarischen und kulturellen Übersetzung.

Greco-Roman mythology and its reception are at the heart of the European Renaissance, and mythographies-texts that collected and explained ancient myths-were considered indispensable companions to any reader of literature. Despite the importance of this genre, English mythographies have not gained sustained critical attention, largely because they have been wrongly considered mere copies of their European counterparts. This volume focuses on the English mythographies written between 1577 and 1647 by Stephen Batman, Abraham Fraunce, Francis Bacon, Henry Reynolds, and Alexander Ross: it places their texts into a wider, European context to reveal their unique English take on the genre and also unfolds the significant role myth played in the broader culture of the period, influencing not only literary life, natural philosophy and poetics, but also religious conflicts and Civil War politics. In doing so it demonstrates, for the first time, the considerable explanatory value classical mythology holds for the study of the English Renaissance and its literary culture in particular, and how early modern England answered a question we still find fascinating today: what is myth?

This book presents a collection of essays discussing a history of the five myths of Dionysus, Narcissus, Prometheus, Marcolf, and Labyrinth in twentieth-century literature. The author traces their transformations against the wider backdrop of Polish and European literature. The book is an excellent, thought-provoking lesson in understanding the signs of contemporary culture and a fascinating journey through its complex trails.

A comprehensive examination of the intertwined mythology, folklore, and literary history of the little people • Explores the pagan roots of dwarfs and elves and their evolution in myth and literature • Reveals the role the church played in changing them from fearless, shape-shifting warriors with magical powers into cheerful helpmates and cute garden gnomes • Traces their history from ancient Celtic and Germanic lore through their emergence in the literature of the Middle Ages to their modern popularization by the Brothers Grimm and Walt Disney Most people are familiar with the popular image of elves as Santa's helpers and dwarfs as little bearded men wearing red caps, who are mischievous and playful, helpful and sly, industrious and dexterous. But their roots go far deeper than their appearance in fairy tales and popular stories. Elves and dwarfs are survivors of a much older belief system that predates Christianity and was widespread throughout Western Europe. Sharing his extensive analysis of Germanic and Norse legends, as well as Roman, Celtic, and medieval literature, Claude Lecouteux explores the ancient, intertwined history of dwarfs and elves. He reveals how both were once peoples who lived in wild regions as keepers of the secrets of nature. They were able to change their size at will and had superhuman strength and healing powers. They were excellent smiths, crafting swords that nothing could dull as well as magical jewelry, and often entered into the service of lords or heroes. They were a part of the everyday life of our ancestors before they were transformed by fairy tales and church texts into the mythical creatures we know today. Lecouteux shows how, in earlier folklore, elves and dwarfs were interchangeable, gradually evolving over time to express very different kinds of beings. “Dwarf,” “giant,” and even “elf” did not necessarily connote size but referred to races with different skills. Elves were more ethereal, offering protection and kindness, while dwarfs reflected a more corporeal form of spirit, often appearing as messengers from the underworld. Yet dwarfs and elves could be bargained with, and our ancestors would leave a broken object outside the door at night with the hope that a dwarf or elf (or other local spirit) would repair it. Revealing the true roots of these helpful and powerful beings, including an in-depth exploration of one of the most famous dwarf/elf/fairy beings of the Middle Ages, Auberon or Oberon, also known as Alberich, Lecouteux shows how the magic of dwarfs and elves can be rekindled if we recognize their signs and invite them back into our world.

Le mythe du forgeron, dans Le livre des rois de Ferdowsi, immense recueil de poésie épique du 10e siècle composé en persan, plonge ses racines dans l'antiquité iranienne la plus reculée. Devenu par la suite la manifestation la plus patriotique de la littérature persane, ce mythe a su galvaniser le sentiment d'appartenance à une histoire et à une culture qui n'ont eu de cesse d'affirmer leur puissante originalité. L'auteur, à travers une épopée unique au monde, révèle les mécanismes profonds d'un tel phénomène.

María Zambrano (1904-1991) sigue ofreciendonos fuentes de reflexión apremiantes. Escrita durante buena parte del siglo XX, su obra da cuenta de un proyecto irrenunciable: sumirse en el vacío, asimilarlo, acogerlo, y después, si es posible, hablar desde él. Los mitos clásicos desempeñan un papel determinante en este juego poético-reflexivo. Aparecen a lo largo de toda su trayectoria y se declaran indispensable para la época moderna.

Peu d'études critiques ont accordé une place au mythe dans la pensée de Malraux. Autodidacte, ce dernier est allé au-devant de la culture ; il n'a pas été formé par l'institution. D'Antigone à Prométhée, quelques figures fascinent Malraux. Cependant, Saturne est la seule instance mythique, qui domine tout un livre. Saturne : un mythe personnel? Il interpelle d'abord Malraux en tant que penseur. Celui-ci voit en ce monstre dévorateur une parabole de la condition humaine. Mais Saturne l'interroge aussi en tant qu'esthéticien. Il semblerait que Malraux ait inventé les métamorphoses de Saturne.

First published in 1976, this book provides a helpful introduction to the study of myth as a concept and its relationship to literature. It examines historically some of the leading theories concerning the nature and origins of myth and, with reference to a wide variety of texts, illustrates the relevance of these theories to literature. It also considers the different ways in which myths have been perceived over time, both positive and negative, and the effect this has had on the production of new mythologies. It concludes with an assessment if the problems created by the presence of myth in literature and its use as a tool of literary criticism.

In Melusine's Footprint: Tracing the Legacy of a Medieval Myth, editors Misty Urban, Deva Kemmis, and Melissa Ridley Elmes offer an invigorating international and interdisciplinary examination of the legendary fairy Melusine. Along with fresh insights into the popular French and German traditions, these essays investigate Melusine's English, Dutch, Spanish, and Chinese counterparts and explore her roots in philosophy, folklore, and classical myth.Combining approaches from art history, history, alchemy, literature, cultural studies, and medievalism, applying rigorous critical lenses ranging from feminism and comparative literature to film and monster theory, this volume brings Melusine scholarship into the twenty-first century with twenty lively and evocative essays that reassess this powerful figure's multiple meanings and illuminate her dynamic resonances across cultures and time.Contributors are Anna Casas Aguilar, Jennifer Alberghini, Frederika Bain, Anna-Lisa Baumeister, Albrecht Classen, Chera A. Cole, Tania M. Colwell, Zoë Enstone, Stacey L. Hahn, Deva F. Kemmis, Ana Pairet, Pit Péporté, Simone Pfleger, Caroline Prud'Homme, Melissa Ridley Elmes, Renata Schellenberg, Misty Urban, Angela Jane Weisl, Lydia Zeldenrust, and Zifeng Zhao.