Alfred Hitchcock’s first cinematic success, The Lodger (1926, silent), provides a case study of contagious violence in the modern metropolis. The film is ostensibly a crime thriller centered on the search for the Avenger, a serial killer modeled on Jack the Ripper. But Hitchcock raises the stakes by introducing a love plot in which the detective and the suspected killer compete for the same woman, who may or may not be the slayer’s next target. In the course of this triangular (...) struggle, the hostility between rivals for the same object of desire escalates to the point of eroding any secure distinction between the cop and the killer, innocence and guilt, legal authority and criminal transgression. As if in homage to .. (shrink)

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions. Originally published in 1988. 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 paperback editions preserve the original texts of these important books while presenting them in durable paperback 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. (shrink)