Animals, Animality, and Literature offers readers a one-volume survey of the field of literary animal studies in both its theoretical and applied dimensions. Focusing on English literary history, with scrupulous attention to the interplay between English and foreign influences, this collection gathers together the work of nineteen internationally noted specialists in this growing discipline. Offering discussion of English literary works from Beowulf to Virginia Woolf and beyond, this book explores the ways human/animal difference has been historically activated within the literary context: in devotional works, in philosophical and zoological treatises, in plays and poems and novels, and more recently within emerging narrative genres such as cinema and animation. With an introductory overview of the historical development of animal studies and afterword looking to the field's future possibilities, Animals, Animality, and Literature provides a wide-ranging survey of where this discipline currently stands.

‘I don’t regret anything, really. I never wanted to live a sensible life … I didn’t want a sensible death either.’ War-torn Africa, a Middle East in crisis, and post-Soviet Eastern Europe form the backdrop to the stories told in The Devil Is a Black Dog — stories based on the extraordinary experiences of acclaimed photojournalist Sándor Jászberényi. From Cairo to the Gaza Strip, from Benghazi to Budapest, his characters contemplate the meaning of home, love, family, and friendship in the face of brutality. Immersed in the societies he reports on and heedless in the face of war and revolution, Jászberényi observes mothers, martyrs, soldiers, and lovers who must confront the extremes of contemporary experience. In spare, evocative prose, he combines fact and fiction to create a profoundly true portrait of the humanity behind the headlines. PRAISE FOR SÁNDOR JÁSZBERÉNYI ‘Unforgettable … an indispensable volume that helps us to remember and regard some of the greatest ruptures of our time.’ The Sydney Morning Herald ‘Extraordinary … Searingly truthful.’ The Independent

In the twisted jungles of Paradiso, humanity fights for its survival. The fierce, alien warriors of the Combined Army have poured through the Acheron Gate, descending upon the emerald jungles of the newest colonial world in a seemingly unstoppable torrent. The bestial Morat pound the Paradiso front, where brave men and women fight ceaselessly to maintain a defensive line which the sly Shasvastii penetrate with devastating ease. In the star-swept skies above, the collected might of humanity's armadas maintain a life-or-death blockade to cut off an endless horde of alien reinforcements. And if any of humanity's fractious forces falter, then all may be lost...

Folklore Studies, No. 11, University Of California Publications. Additional Editors Are Charles Speroni And M. A. Zeitlin.

"If, as Chesterton claimed, the devil's greatest triumph was convincing the modern world that he does not exist, Jeffrey Burton Russell means to rob him of his victory. Lucifer: The Devil in the Middle Ages is both a scholarly assessment of the development of diabology in the Middle Ages and an impassioned plea to the 20th century to recognize and acknowledge the existence of real, objective evil. The third in a series of works tracing the history of the devil from his Judeo-Christian roots, it represents a formidable undertaking: the devil's history is integrally related to the problem of evil, which is in turn at the heart of Western religious thought. Each of the volumes on Satan comprises, in essence, a judicious and able tour of Christian theology from the villain's point of view... Book jacket.

Rich anthology of African-American folklore offers scores of humorous and harrowing stories. Collected during the mid-20th century, the tales tell of talking animals, ghosts, devils, and saints.

Urban Los Angeles is the setting in which Elaine Miller has collected her narratives from Mexican-Americans. The Mexican folk tradition, varied and richly expressive of the inner life not only of a people but also of the individual as each lives it and personalizes it, is abundantly present in the United States. Since it is in the urban centers that most Mexican-Americans have lived, this collection represents an important contribution to the study of that tradition and to the study of the changes urban life effects on traditional folklore. The collection includes sixty-two legendary narratives and twenty traditional tales. The legendary narratives deal with the virgins and saints as well as with such familiar characters as the vanishing hitchhiker, the headless horseman, and the llorona. Familiar characters appear in the traditional tales—Juan del Oso, Blancaflor, Pedro de Ordimalas, and others. Elaine Miller concludes that the traditional tales are dying out in the city because tale telling itself is not suited to the fast pace of modern urban life, and the situations and characters in the tales are not perceived by the people to be meaningfully related to the everyday challenges and concerns of that life. The legendary tales survive longer in an urban setting because, although containing fantastic elements, they are related to the beliefs and hopes of the narrator—even in the city one may be led to buried treasure on some dark night by a mysterious woman. The penchant of the informants for the fantastic in many of their tales often reflects their hopes and fears, such as their dreams of suddenly acquiring wealth or their fears of being haunted by the dead. Miller closely observes the teller's relation to the stories—to the duendes, the ánimas, Death, God, the devil—and she notes the tension on the part of the informant in his relation to their religion. The material is documented according to several standard tale and motif indices and is placed within the context of the larger body of Hispanic folk tradition by the citation of parallel versions throughout the Hispanic world. The tales, transcribed from taped interviews, are presented in colloquial Spanish accompanied by summaries in English.