Building on recent transformative theories of influence, John Foster explores the many ways Nietzsche's intellectual and artistic example helped shape an interconnected series of major literary projects from 1900 to the 1940s. He portrays Nietzsche as a stimulating but disturbing force who left a well-defined legacy of concerns that modernists appropriated for their fiction. The author focuses particularly on Gide, D. H. Lawrence, Malraux, and Mann, analyzing their strategies of acceptance, revision, and subversion. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The series presents outstanding monographic interpretations of Nietzsche's work as a whole or of specific themes and aspects. These works are written mostly from a philosophical, literary, communication science, sociological or historical perspective. The publications reflect the current state of research on Nietzsche's philosophy, on his sources, and on the influence of his writings. The volumes are peer-reviewed.

A New Handbook of Literary Terms offers a lively, informative guide to words and concepts that every student of literature needs to know. Mikics’s definitions are essayistic, witty, learned, and always a pleasure to read. They sketch the derivation and history of each term, including especially lucid explanations of verse forms and providing a firm sense of literary periods and movements from classicism to postmodernism. The Handbook also supplies a helpful map to the intricate and at times confusing terrain of literary theory at the beginning of the twenty-first century: the author has designated a series of terms, from New Criticism to queer theory, that serves as a concise but thorough introduction to recent developments in literary study. Mikics’s Handbook is ideal for classroom use at all levels, from freshman to graduate. Instructors can assign individual entries, many of which are well-shaped essays in their own right. Useful bibliographical suggestions are given at the end of most entries. The Handbook’s enjoyable style and thoughtful perspective will encourage students to browse and learn more. Every reader of literature will want to own this compact, delightfully written guide.

Today many in Hollywood and the media have declared open warfare on the family, education, and Christianity in general. Intellectuals have labeled religion, particularly Christianity, as mere wish fulfillment or a virus of the mind, something to be eradicated at all costs. In Christianity's Dangerous Idea, Jonas Alexis picks up where he left off in his previous books and continues to examine the ideological fallacies that have been fabricated in order to attack Christianity and the people who promote those fallacies. This latest book is a tour de force of rigorous logic and testable evidence for the Christian worldview from history, science, experience, common sense, and final destiny. More importantly, Alexis subjects the rivals of Christianity to the same rigorous testing. Christianity's Dangerous Idea clearly demonstrates the destructive nature of popular atheistic and anti-Christian philosophies, spread throughout Western culture by such famous people as Friedrich Nietzsche, Sigmund Freud, Carl Jung, David Cronenberg, Steven Spielberg, Alan Moore, William S. Burroughs, Philip K. Dick, Bruce Lee, Ayn Rand, Bart D. Ehrman, Richard Dawkins, and many more. In a scholarly yet readable fashion, Alexis shows that what the ancient Greeks often referred to as "the cult of Dionysus" has become mainstream in our modern age.

Addresses the question of the legacies of Nietzsche's theories of tragedy as literary genre and of the tragic as ontological concept. This volume gives a sampling of the multifaceted and widespread impact of Nietzsche's thought in Eastern as well as in Western Europe and in the United States.

The Max Planck Yearbook of United Nations Law Online offers in-depth articles on issues such as Human Rights, UN organs and Commissions as well as questions of international law in connection with the United Nations. The core of authors proves to be a well balanced mix between young scholars and professors from all over Europe.

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music. As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms." In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise.