Originally published in 1981, this book examines why and how textual difficulty became a norm of modernist literature and questions how we can begin to account for the forms of obscurity and difficulty which developed in the late 19th Century and which became so important to modernism. The author argues that the decline of realism entailed the growth of ‘symptomatic’ or ‘subtextual’ reading which tended to treat fiction as compromised autobiography. This kind of reading left the author dangerously isolated and exposed in the midst of a newly sophisticated public. Within this general cultural perspective, the book traces the private anxieties that led George Meredith, Joseph Conrad and Henry James to conceal themselves within their complex and resistant fictions. It discusses opacity in the texts themselves – embarrassment and shame in Meredith; ‘engimas’ in Conrad; and the fear of vulgarity and knowledge in Henry James.

Exploring the intricate and multi-dimensional conception of clarity and obscurity in law, this volume presents and examines the most recent research and theories. It provides practical guidance on how to avoid obscurity in legal drafting, as well as legal interpretation at both the national and international levels.

In this book, "Escaping Obscurity, Napoleon Encounters Jesus?" the author looks at the lives of a few who scaled the heights and found fame, fortune and uncommon success. With an eye towards examining the wisdom principles they've employed, she focuses on Napoleon in an effort to prove that all wisdom originates from God; and that this same Wisdom works for anyone who will employ it.

The Sense of Mystery highlights what is clear and what retains the character of mystery in the traditional and Thomistic solution concerning the great problems pertaining to our knowledge in general, to our knowledge of God (whether naturally or supernaturally attained), and to questions pertaining to grace. St. Thomas has fear neither for logic nor for mystery. Indeed, logical lucidity leads him to see in nature those mysteries that speak in their own particular ways of the Creator. Likewise, this same lucidity aids him in putting into strong relief other secrets of a far superior order—those of grace and of the intimate life of God, which would remain unknown were it not for Divine Revelation.

Turn on Christian radio anywhere in the United States and see how long it takes before someone declares that “Scripture clearly teaches [fill in the blank].” There’s a reason for that, and it has to do with the very origins of Protestant Christianity more than five hundred years ago. The Protestant Reformation coalesced around five core doctrines: sola scriptura, sola fide, sola gratia, solus Christus, and soli Deo gloria. But another founding principle served as bedrock for all of them: the doctrine of clarity, or perspicuity. According to this doctrine, which was upheld in various forms by all the major Reformers and remains central to Protestantism today, the Bible is clear enough so that any Christian, relying on the Holy Spirit, will be able to determine at least what is necessary for salvation, if not much more. The Obscurity of Scripture: Disputing Sola Scriptura and the Protestant Notion of Biblical Perspicuity catalogues and analyzes the historical, theological, and philosophical dimensions of perspicuity and finds the doctrine not only confused but erroneous, destructive, and self-defeating. The Obscurity of Scripture exposes the hopeless dead ends of clarity and, through a consideration of Catholic teaching on the Bible, offers the only way out.

Poetry has long been regarded as the least accessible of literary genres. But how much does the obscurity that confounds readers of a poem differ from, say, the slang that seduces listeners of hip-hop? Infidel Poetics examines not only the shared incomprensibilities of poetry and slang, but poetry's genetic relation to the spectacle of underground culture. Charting connections between vernacular poetry, lyric obscurity, and types of social relations—networks of darkened streets in preindustrial cities, the historical underworld of taverns and clubs, the subcultures of the avant-garde—Daniel Tiffany shows that obscurity in poetry has functioned for hundreds of years as a medium of alternative societies. For example, he discovers in the submerged tradition of canting poetry and its eccentric genres—thieves’ carols, drinking songs, beggars’ chants—a genealogy of modern nightlife, but also a visible underworld of social and verbal substance, a demimonde for sale. Ranging from Anglo-Saxon riddles to Emily Dickinson, from the icy logos of Parmenides to the monadology of Leibniz, from Mother Goose to Mallarmé, Infidel Poetics offers an exhilarating account of the subversive power of obscurity in word, substance, and deed.