Charles Caramello

It details how major writers on horsemanship and its military application came to advocate for formal “school” dressage together with outdoor hunt riding as the ideal preparation for cavalry horses and riders. Tracking that history through scores of works ranging from Federico Grisone’s Rules of Riding (1550) to E.G. French’s Good-Bye to Boot and Saddle (1951), Riding to Arms offers both a history of horsemen, horse soldiers, and warhorses and a study of the seminal books that shaped that history.

This detailed, annotated bibliography surveys some 70 guides, monographs, policy statements, and reports pertaining to graduate education published by the Council of Graduate Schools between the 1960s and 2010s with particular attention to CGS’s invaluable and widely read series of “best practice monographs.”

This scholarly edition comprises extensively annotated facsimile copies of Military Equitation: or, A Method of Breaking Horses, and Teaching Soldiers to Ride (1793), by Henry Herbert, 10th Earl of Pembroke, and A Treatise on Military Equitation (1797), by William Tyndale.

This report, published in the Council of Graduate School’s series of “best practice monographs,” provides accessible and replicable models for preparing STEM researchers to navigate the ethical as well as logistical challenges in international research collaborations.

In this study of realist and modernist life writing, Caramello offers extended close readings of four biographical works by James and Stein: “acts” that served their authors primarily as “covers” for autobiography. Exploring themes of artistry and influence and experimenting with original forms of biographical portraiture, James and Stein used their biographical portraits of precursors and contemporaries to portray themselves as exemplary modern artists and, in the process, also constructed ideal literary genealogies for themselves.

This study presents an account of the problematics of the book and of the authorial self as they appeared in critical theory in the 1960s-1980s and, previously, in literary modernism and the American literary tradition. It then explores these problematics as they appear across a range of works by the first generation of postmodern American fiction writers. It focuses on a pronounced ambivalence in these works that issued from an assimilation of incompatible precepts from contemporary critical theory, literary modernism, and the American literary tradition. The particular precepts assimilated, moreover, also induced the fiction to conduct a reflexive meditation on the book and the authorial self and on the very ambivalence it reveals towards them.

This interdisciplinary collection of original essays by many hands traces the development of postmodern performance. Its many topics include the differences between ritual and theater, psychoanalytic theory of film and music, and performative writing. It was the inaugural volume in the series, “Theories of Contemporary Culture,” subsequently published for over thirty years.