Many people have contributed to this book, so many, in fact, that I cannot hope to name them all. Numerous colleagues left material in my mailbox pertaining to the project, and the book is much richer for it. Even when I elected not to include something, the enthusiasm and interest reassured me about the worth of the project. People really are fascinated by car culture and gender.

It is our hope that this collective volume, starting from the idea of the ‘independent reader’, might inspire a new approach to Petrarch’s reception in the Renaissance and the Early Modern Period. For, if Petrarch already during his lifetime could proudly boast that he was read by a large audience, this book intends to shed a new light on the reading processes from the 14th to the 16th century, its creative re-readings, and its stunning transpositions of Petrarch’s text into new literary and artistic discourses. Even if we know that, again, this new light will be insufficient since ‘Pétrarque continue à nous échapper par le jeu de ses multiples représentations’, we hope that it will inspire fruitful re-readings of the creative Petrarch-readings of the past.

Nazisploitation! examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as Love Camp 7 and Ilsa, She-Wolf of the SS introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the 'sleaze' film. More recently, Tarantino's Inglourious Basterds, as well as video games such as Call of Duty: World at War, have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the Führer, and Nazi zombies rise from the grave. The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and 'sleaze' visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

In Translating Modernism Ronald Berman continues his career-long study of the ways that intellectual and philosophical ideas informed and transformed the work of America’s major modernist writers. Here Berman shows how Fitzgerald and Hemingway wrestled with very specific intellectual, artistic, and psychological influences, influences particular to each writer, particular to the time in which they wrote, and which left distinctive marks on their entire oeuvres. Specifically, Berman addresses the idea of "translating" or "translation"—for Fitzgerald the translation of ideas from Freud, Dewey, and James, among others; and for Hemingway the translation of visual modernism and composition, via Cézanne. Though each writer had distinct interests and different intellectual problems to wrestle with, as Berman demonstrates, both had to wrestle with transmuting some outside influence and making it their own.

Предметом аналізу у цій доповіді є образ України в російському історичному дискурсі. Термін «історичний дискурс» означає комплекс сталих, культурно, ідеологічно і політично обумовлених стандартних мовних практик стосовно минулого, які є основою культурних стереотипів, що впливають на формування політичних рішень і дій, на стан суспільної свідомості, на ставлення політиків, аналітиків і ширшого загалу до України та українців. Автори зосереджуютьсяпереважно і передусім на росій- ському матеріалі. Дискурсивні практики, що побутують в українському історіографічному, дидактичному та медійному просторах згадуються винятково для окреслення інтелектуального, культурного і політичного контекстів. Зокрема, думка українських істориків щодо репрезентацій української історії в російському історіографічному та публічному дискурсах згадується в тих випадках, коли йдеться про дискусії та проекти спільних видань. Українська історіографія та образ Росії у ній не є предметом докладного аналізу.