The name conjures up J.K. Rowling's wondrous world of magic that has captured the imaginations of millions on both the printed page and the silver screen with bestselling novels and blockbuster films. The true magic found in this children's fantasy series lies not only in its appeal to people of all ages but in its connection to the greater world of classic literature. Harry Potter's Bookshelf: The Great Books Behind the Hogwarts Adventures explores the literary landscape of themes and genres J.K. Rowling artfully wove throughout her novels-and the influential authors and stories that inspired her. From Jane Austen's Emma and Charles Dickens's class struggles, through the gothic romances of Dracula and Frankenstein and the detective mysteries of Dorothy L. Sayers, to the dramatic alchemy of C.S. Lewis, J.R.R. Tolkien, and William Shakespeare, Rowling cast a powerful spell with the great books of English literature that transformed the story of a young wizard into a worldwide pop culture phenomenon.

    Approved by both the Anne Frank House Foundation in Amsterdam and the Anne Frank-Fonds in Basel, run by the Frank family, this work of literary criticism unravels the complex, fascinating story of the diary and effectively makes the case for it being a work of art from a precociously gifted writer.

    Le Guin. In these essays, the author argues passionately that the homogenization of our world makes the work of fantasy essential for helping us break through what she calls the reality trap. Le Guin writes not only of the pleasures of her own childhood reading, but also about what fantasy means for all of us living in the global twenty-first century.

    Steiner makes an ideal guide from the Risorgimento in Italy to the literature of the Gulag, from the history of chess to the enduring importance of George Orwell. Again and again everything Steiner looks at in his New Yorker essays is made to bristle with some genuine prospect of turning out to be freshly thrilling or surprising.

    In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.In more than two hundred original essays, "A New Literary History of America" brings together the nation s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what Made in America means. Literature, music, film, art, history, science, philosophy, political rhetoric cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood s "American Gothic," Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on "Tarzan," Bharati Mukherjee on "The Scarlet Letter," Gish Jen on "Catcher in the Rye," and Ishmael Reed on "Huckleberry Finn." From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, "Life," Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.Please visit www.newliteraryhistory.com for more information. "

    K. Rowling's HARRY POTTER, and compares Rowling's series with THE LORD OF THE RINGS by J. R. R. Tolkien and THE CHRONICLES OF NARNIA by C. S. Lewis. This book also gives a fascinating explanation of the sources of Harry Potter's subtle religious symbolism, which includes a study of iconography derived from the Bible, the writings of the Early Church Fathers, Ancient and Medieval bestiaries, Christian artwork, and the Arthurian quest for the Hallows of the Holy Grail.Please visit the author's webpage at www.outskirtspress.com/thelordoftheha... for more information.

    These include not only famous and expected names (Harriet Beecher Stowe, Willa Cather, Dorothy Parker, Flannery O’Connor, Gwendolyn Brooks, Grace Paley, Toni Morrison, and Jodi Picoult among them), but also many who were once successful and acclaimed yet now are little known, from the early American best-selling novelist Catherine Sedgwick to the Pulitzer Prize–winning playwright Susan Glaspell. Showalter shows how these writers—both the enduring stars and the ones left behind by the canon—were connected to one another and to their times. She believes it is high time to fully integrate the contributions of women into our American literary heritage, and she undertakes the task with brilliance and flair, making the case for the unfairly overlooked and putting the overrated firmly in their place.Whether or not readers agree with the book’s roster of writers, A Jury of Her Peers is an irresistible invitation to join the debate, to discover long-lost great writers, and to return to familiar titles with a deeper appreciation. It is a monumental work that will greatly enrich our understanding of American literary history and culture.

    But until the publication in 2007 of Guy Raffa’s guide to the Inferno, students lacked a suitable resource to help them navigate Dante’s underworld. With this new guide to the entire Divine Comedy, Raffa provides readers—experts in the Middle Ages and Renaissance, Dante neophytes, and everyone in between—with a map of the entire poem, from the lowest circle of Hell to the highest sphere of Paradise.Based on Raffa’s original research and his many years of teaching the poem to undergraduates, The CompleteDanteworlds charts a simultaneously geographical and textual journey, canto by canto, region by region, adhering closely to the path taken by Dante himself through Hell, Purgatory, and Paradise. This invaluable reference also features study questions, illustrations of the realms, and regional summaries. Interpreting Dante’s poem and his sources, Raffa fashions detailed entries on each character encountered as well as on many significant historical, religious, and cultural allusions.

    Steven Frye offers a comprehensive treatment of McCarthy's fiction to date, dealing with the author's aesthetic and thematic concerns, his philosophical and religious influences, and his participation in Western literary traditions.Frye provides extensive readings of each novel, charting the trajectory of McCarthy's development as a writer who invigorates literary culture both past and present through a blend of participation, influence, and aesthetic transformation. Understanding Cormac McCarthy explores the early works of the Tennessee period in the context of the "romance" genre, the southern gothic and grotesque, as well as the carnivalesque. A chapter is devoted to Blood Meridian, a novel that marks McCarthy's transition to the West and his full recognition as a major force in American letters. In the final two chapters, Frye explores McCarthy's Border Trilogy and his later works-- specifically No Country for Old Men and The Road--addressing the manner in which McCarthy's preoccupation with violence and human depravity exists alongside a perpetual search for meaning, purpose, and value.Frye provides scholars, students, and general readers alike with a clearly argued foundational examination of McCarthy's novels in their historical and literary contexts as an ideal roadmap illuminating the author's work as it charts the dark and mythic topography of the American frontier.

    The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.

    Each chapter in this book traces the origin and development of a specific critical approach up to recent times, with a special focus on key thinkers. Chapters on critical race studies and ecocriticism distinguish this book from many others on this subject. Written in a student-friendly manner, it does not presume prior knowledge of Western philosophical thought and makes Theory approachable for students from various backgrounds. Apart from students of English literature, the book will serve the interdisciplinary interests of students of mass communication, history, sociology and gender studies. It will also appeal to the general reader who wants a clearer picture of that ‘opaque’ academic field called ‘theory’.

    Throughout his career, he remained haunted by his inability to master a series of personal and professional challenges: his less-than-heroic military career; the loss of his brother in an airplane crash; a disappointing stint as a Hollywood screenwriter; and a destructive bout with alcoholism. In this imaginative biography, Philip Weinstein--a leading authority on the great novelist--targets Faulkner's embattled sense of self as central to both his life and his work. Weinstein shows how Faulkner's troubled interactions with time, place, and history--with antebellum practices and racial division--take on their fullest meanings in his fiction. Exploring the resonance of his own unpreparedness, Faulkner invented a singular language that captured human consciousness under stress as never before. Becoming Faulkner joins Faulkner's life and art in a bold new way, giving readers a full vantage from which to better understand this twentieth-century literary genius. Weinstein shows how Faulkner's troubled interactions with time, place, and history--with antebellum practices and southern heritage--form a pattern that played out over the course of his entire life. At the same time, these incidents take on their fullest meanings in his fiction. It was in meditating on his failures, his own unreadiness, Weinstein argues, that Faulkner came up with his singular language, one that captured human consciousness under stress as never before. His fruitless striving catapulted American literature to a new level of sophistication. Narrating the events that comprised Faulkner's life, biographers have long struggled to depict his personal complexity, the paradoxes that shaped his decisions and dogged his relationships. But without a consideration of the writing as well, the troubles in the life fail to reveal their deeper resonance. By skillfully analyzing the work while tracing the events, Weinstein achieves a full portrait, revealing struggles that animate his life and shadows that complicate his work. Becoming Faulkner thus conjoins Faulkner's life and art in a bold new way, giving readers a full vantage from which to better understand this twentieth-century literary genius.

    It provides unrivalled coverage of all aspects of English literature - from writers, their works, and the historical and cultural context in which they wrote, to critics, literary theory, and allusions.For the seventh edition, the Companion has been thoroughly revised and updated to meet the needs and concerns of today's students and general readers. Over 1,000 new entries have been added, ranging from new writers - Chimamanda Ngozi Adichie, Patrick Marber, David Mitchell, Arundhati Roy - to increased coverage of writers and literary movements from around the world. Coverage of American literature has been substantially increased, with new entries on writers such as Cormac McCarthy and Amy Tan and on movements and publications. Contextual and historical coverage has also been expanded, with new entries on European history and culture, post-colonial literature, as well as writers and literary movements from around the world that have influenced English literature.The Companion has always been a quick and dependable source of reference for students, and the new edition confirms its pre-eminent role as the go-to resource of first choice. All entries have been reviewed, and details of new works, biographies, and criticism have been brought up to date. So also has coverage of the themes, approaches and concepts encountered by students today, from terms to articles on literary theory and theorists. There is increased coverage of writers from around the world, as well as from Ireland, Scotland, and Wales, and of contextual topics, including film and television, music, and art. Cross-referencing has been thoroughly updated, with stronger linking from writers to thematic and conceptual entries. Meanwhile coverage of popular genres such as children's literature, science fiction, biography, reportage, crime fiction, fantasy or travel literature has been increased substantially, with new entries on writers from Philip Pullman to Anne Frank and from Anais Nin to Douglas Adams.The seventh edition of this classic Companion - now under the editorship of Dinah Birch, assisted by a team of 28 distinguished associate editors, and over 150 contributors - ensures that it retains its status as the most authoritative, informative, and accessible guide to literature available.

    A renowned stylist of hyper-brevity in fiction, Fleur Jaeggy proves herself an even more concise master of the essay form, albeit in a most peculiar and lapidary poetic vein. Of De Quincey’s early nineteenth-century world we hear of the habits of writers: Charles Lamb “spoke of ‘Lilliputian rabbits’ when eating frog fricassse”; Henry Fuseli “ate a diet of raw meat in order to obtain splendid dreams”; “Hazlitt was perceptive about musculature and boxers”; and “Wordsworth used a buttery knife to cut the pages of a first-edition Burke.” In a book of “blue devils” and night visions, the Keats essay opens: “In 1803, the guillotine was a common child’s toy.” And poor Schwob’s end comes as he feels “like a ‘dog cut open alive’”: “His face colored slightly, turning into a mask of gold. His eyes stayed open imperiously. No one could shut his eyelids. The room smoked of grief.” Fleur Jaeggy’s essays—or are they prose poems?—smoke of necessity: the pages are on fire.

    In A Peepshow with Views of the Interior, acclaimed fiction writer and poet Aislinn Hunter writes lyrical paratexts on topics ranging from Charlotte Bronte's dogs, bird displays in museums, peep shows, and clocks and convalescence.

    In the first book of its kind, Garland-Thomson defines staring, explores the factors that motivate it, and considers the targets and the effects of the stare. While borrowing from psychology and biology to help explain why the impulse to stare is so powerful, she also enlarges and complicates these formulations with examples from the realm of imaginative culture. Featuring over forty illustrations, Staring captures the stimulating combination of symbolic, material and emotional factors that make staring so irresistible while endeavoring to shift the usual response to staring, shame, into an engaged self-consideration. Elegant and provocative, this unique study advances new ways of thinking about visuality and the body that will appeal to readers who are interested in the overlap between the humanities and human behaviors.

    Appreciating Poe's work is essential to any understanding of American literature. Here, in 10 volumes, is the complete oeuvre of this American original. Available again in Cosimo's beautiful replica of the 1902 edition, finely illustrated by Canadian artist FREDERICK SIMPSON COBURN (1871-1960), and edited and with a critical introduction by American literary historian and journalist CHARLES F. RICHARDSON (1851-1913), this is a collection readers will treasure. Volume VIII: Criticisms features: "J. Fenimore Cooper" "Amelia Welby" "Some Secrets of the Magazine Prison-House" "Mr. Longfellow and Other Plagiarists" "William Cullen Bryant" "The Literati" (continued in Vol. IX) and more."

    The essays collected here by Marjorie Perloff and Craig Dworkin break that critical silence to readdress some of the fundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme, the role of sound repetition in novelistic prose, the connections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essays take on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

    These books were about gay characters. They were written mostly by gay writers. Above all, they were for gay readers. And, as this entertaining chronicle of the emergence of gay literary pride makes clear, it was a revolution that occurred several years before Stonewall!Their characters were mostly out or struggling to get out. The books were definitely out—out on the revolving paperback bookracks in grocery stores, dime stores, drugstores, magazine agencies, and transportation terminals across the nation for youths and senior citizens, in the cities and the rural areas alike, to find and to devour.Here 19 writers take you on a tour of this Golden Age of Gay Fiction —roughly the period between the first Kinsey Report and the first collection of Tales of the City —paying attention to touchstone novels from the period but, even more, highlighting works of fiction that have been left unjustly to gather dust on literary shelves.Written by authors, scholars, collectors, and one of the publishers, their essays will inform you. They will sometimes amuse you. They will take you into literary corridors you only suspected were there. And the some 200 illustrations, chosen for their historical as well as their artistic interest, provide a visual record of why this was the golden age.

    D. Wright, and other contemporary poets whose complexities make them challenging, original, and, finally, readable. Burt's intelligence and enthusiasm introduce both tentative and longtime poetry readers to the rewards of reading new poetry. As Burt writes in the title essay: "The poets I know don't want to be famous people half so much as they want their best poems read; I want to help you find and read them. I write here for people who want to read more new poetry but somehow never get around to it; for people who enjoy Seamus Heaney or Elizabeth Bishop and want to know what next; for people who enjoy John Ashbery or Anne Carson but aren't sure why; and, especially, for people who read the half-column poems in glossy magazines and ask, ‘Is that all there is?'"

    As such, this is one of --- if not the only --- guide of its kind to cover all 13 seasons of this extremely popular property.With this unauthorized guidebook, X-Files fans will be able to reevaluate these TV series with Shearman (World Fantasy Award winner, Hugo Award nominee, renowned playwright, writer on the new Doctor Who series and all-around nice guy) as he diligently comments upon all 282 X-Files-related episodes (and the two motion pictures), which form one of the most notable TV works of the 1990s --- and is every bit as enjoyable today. Armed with Wanting to Believe, you will not only find yourself mulling over Shearman's insights and opinions about The X-Files --- you will want to pull your DVDs and re-watch this amazing and impressive series for yourself.

    This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.

    It is the inspired word of God for his people, whether in biblical times or for the church today. It is also a fully human book, written by different people in a variety of cultural settings. Knowledge of biblical language and society is essential if the meaning of the human writer is to be grasped fully. The Apollos Old Testament Commentary aims to take with equal seriousness the divine and human aspects of Scripture. It expounds the books of the Old Testament in a scholarly manner accessible to nonexperts, and shows the relevance of the Old Testament to modern readers. This commentary begins with an Introduction, which gives an overview of the issues of date, authorship, sources and so on, but which also outlines more fully than usual the theology of 1 & 2 Samuel, and provides pointers toward its interpretation and contemporary application. The annotated Translation of the Hebrew text by the author forms the basis for the subsequent commentary. The Form and Structure section examines the context of a passage, its use of rhetorical devices, and source and form-critical issues. The Comment section is a thorough, detailed exegesis of the historical and theological meaning of the passage. The Explanation--the goal of the commentary--offers a full exposition of the theological message within the framework of biblical theology, and a commitment to the inspiration and authority of the Old Testament. Written by an international team of scholars, the commentaries are intended primarily to serve the needs of those who preach from the Old Testament. They are equally suitable for use by scholars and all serious students of the Bible.

    Yohanan Petrovsky-Shtern focuses on five writers and poets of Jewish descent whose literary activities span the 1880s to the 1990s. Unlike their East European contemporaries who disparaged the culture of Ukraine as second-rate, stateless, and colonial, these individuals embraced the Russian- and Soviet-dominated Ukrainian community, incorporating their Jewish concerns in their Ukrainian-language writings. The author argues that the marginality of these literati as Jews fuelled their sympathy toward Ukrainians and their national cause. Providing extensive historical background, biographical detail, and analysis of each writer’s poetry and prose, Petrovsky-Shtern shows how a Ukrainian-Jewish literary tradition emerged. Along the way, he challenges assumptions about modern Jewish acculturation and Ukrainian-Jewish relations.

    Known primarily for his novels, he also published a large and diverse body of short personal writings (shohin) that have long lived in the shadow of his fictional works. The essays, which appeared in the Asahi shinbun between 1907 and 1915, comprise a fascinating autobiographical mosaic, while capturing the spirit of the Meiji era and the birth of modern Japan.In Reflections in a Glass Door, Marvin Marcus introduces readers to a rich sampling of Soseki's shohin. The writer revisits his Tokyo childhood, recalling family, friends, and colleagues and musing wistfully on the transformation of his city and its old neighborhoods. He painfully recounts his two years in London, where he immersed himself in literary research even as he struggled with severe depression. A chronic stomach ailment causes Soseki to reflect on his own mortality and what he saw as the spiritual afflictions of modern Japanese: rampant egocentrism and materialism. Throughout he adopts a number of narrative voices and poses: the peevish husband, the harried novelist, the convalescent, the seeker of wisdom.Marcus identifies memory and melancholy as key themes in Soseki's personal writings and highlights their relevance in his fiction. He balances Soseki's account of his Tokyo household with that of his wife, Natsume Kyoko, who left a straightforward record of life with her celebrated husband. Soseki crafted a moving and convincing voice in his shohin, which can now be pondered and enjoyed for their penetrating observation and honesty, as well as the fresh perspective they offer on one of Japan's literary giants.

    Examining how themes and trends associated with early gothic novels were diffused in many different genres throughout the Victorian period—including the ghost story, the detective story, and the adventure story—History of the Gothic pays particular attention to how the gothic attempted to resolve the psychological and theological problems introduced with the modernization and secularization of British society, as well as the relationship between the child and horror.

    Children in contemporary Western society are oppressed and powerless, yet they are allowed, in fiction written by adults for the enlightenment and enjoyment of children, to become strong, brave, rich, powerful, and independent -- on certain conditions and for a limited time. Though the best children's literature offers readers the potential to challenge the authority of adults, many authors use artistic means such as the narrative voice and the subject position to manipulate the child reader. Looking at key works from the eighteenth century to the present, Nikolajeva explores topics such as genre, gender, crossvocalization, species, and picturebook images. Contemporary power theories including social and cultural studies, carnival theory, feminism, postcolonial and queer studies, and narratology are also considered, in order to demonstrate how a balance is maintained between the two opposite inherent goals of children's literature: to empower and to educate the child.

    This valuable anthology does not further embalm the ‘legend’ of the Beats. Instead it allows its readers to hear authentic voices —Allen Ginsberg, William Burroughs, John Clellon Holmes, Diane di Prima, Philip Whalen, etc.—as well as introducing the thoughtful and responsible work of leading Beat scholars.”—Joyce Johnson Amassed from the riches of the Naropa University audio archives, this collection offers an exciting new look at the Beats—whose influence lives on in the art and politics of our time. In this often spontaneous, conversational book, readers are introduced to the hard truths behind being a Beat woman, the haunting accuracy of William Burroughs’s world-view, the passion and energy of Allen Ginsberg and Anne Waldman, Jack Kerouac’s unexpected musicality, Diane DiPrima’s foray into small press publishing, Michael McClure’s account of the famous first reading of “Howl,” and, most of all, the inspirations behind America’s most provocative and prescient thinkers.Contributors include: David Amram Amiri Baraka Ted Berrigan Junior Burke William S. Burroughs Lorna Dee Cervantes Ann Charters Clark Coolidge Gregory Corso Diane di Prima Lawrence Ferlinghetti Rick Fields Allen Ginsberg David Henderson Abbie Hoffman John Clellon Holmes Joyce Johnson Hettie Jones Edie Parker Kerouac Joanne Kyger Michael McClure William S. Merwin John Oughton Marjorie Perloff David Rome Edward Sanders Gary Snyder Janine Pommy Vega Steven Taylor Chögyam Trungpa, Rinpoche Anne Waldman Philip Whalen Laura Wright Joshua Zim

    Luce explores the historical and philosophical contexts of Cormac McCarthy's early works crafted during his Tennessee period from 1959 to 1979 to demonstrate how McCarthy integrates literary realism with the imagery and myths of Platonic, gnostic, and existentialist philosophies to create his unique vision of the world.Luce begins with a substantial treatment of the east Tennessee context from which McCarthy's fiction emerges, sketching an Appalachian culture and environment in flux. Against this backdrop Luce examines, novel by novel, McCarthy's distinctive rendering of character through mixed narrative techniques of flashbacks, shifts in vantage point, and dream sequences. Luce shows how McCarthy's fragmented narration and lyrical style combine to create a rich portrayal of the philosophical and religious elements at play in human consciousness as it confronts a world rife with isolation and violence.

    No group of writers better represents the problems of Jewish identity than Jewish poets writing in the American modernist tradition--specifically secular Jews: those disdainful or suspicious of organized religion, yet forever shaped by those traditions. This collection of essays is the first to address this often obscured dimension of modern and contemporary poetry: the secular Jewish dimension. Editors Daniel Morris and Stephen Paul Miller asked their contributors to address what constitutes radical poetry written by Jews defined as "secular," and whether or not there is a Jewish component or dimension to radical and modernist poetic practice in general. These poets and critics address these questions by exploring the legacy of those poets who preceded and influenced them--Stein, Zukofsky, Reznikoff, Oppen, and Ginsberg, among others. While there is no easy answer for these writers about what it means to be a Jew, in their responses there is a rich sense of how being Jewish reflects on their aesthetics and practices as poets, and how the tradition of the avant-garde informs their identities as Jews. Fragmented identities, irony, skepticism, a sense of self as "other" or "outsider," distrust of the literal, and belief in a tradition that questions rather than answers--these are some of the qualities these poets see as common to themselves, the poetry they make, and the tradition they work within.

    Even as the Education Acts of 1870, 1880, and 1891 extended the privilege of print literacy to greater numbers of the populace, stitching samplers continued to be a way of acculturating girls in both print literacy and what Kortsch terms dress culture. Kortsch explores nineteenth-century women's education, sewing and needlework, mainstream fashion, alternative dress movements, working-class labor in the textile industry, and forms of social activism, showing how dual literacy in dress and print cultures linked women writers with their readers. Focusing on Victorian novels written between 1870 and 1900, Kortsch examines fiction by writers such as Olive Schreiner, Ella Hepworth Dixon, Margaret Oliphant, Sarah Grand, and Gertrude Dix, with attention to influential predecessors like Elizabeth Gaskell, Charlotte Bront�, and George Eliot. Periodicals, with their juxtaposition of journalism, fiction, and articles on dress and sewing are particularly fertile sites for exploring the close linkages between print and dress cultures. Informed by her examinations of costume collections in British and American museums, Kortsch's book broadens our view of New Woman fiction and its relationship both to dress culture and to contemporary women's fiction.

    The title refers to the canary in the coal mine, who whiffs gas and dies to save miners; reviewers of fantastika can find themselves in a similar position, though words can only hurt us.This is the fourth such collection by John Clute. Several older pieces are included here, though the great bulk of the book - over 200,000 words - was first published between 2003 and 2008. Every review has been edited. Errors and incoherencies have been removed when possible. The original versions of some reviews - in particular those written in the past year or so - have been treated as first drafts, and have been brought into final form.One piece, on John B Watson and Behaviorism, is previously unpublished.

    S. Eliot’s phrase, or “the most provincial of the arts,” according to W. H. Auden. But in A Transnational Poetics, Jahan Ramazani uncovers the ocean-straddling energies of the poetic imagination—in modernism and the Harlem Renaissance; in post–World War II North America and the North Atlantic; and in ethnic American, postcolonial, and black British writing. Cross-cultural exchange and influence are, he argues, among the chief engines of poetic development in the twentieth and twenty-first centuries. Reexamining the work of a wide array of poets, from Eliot, Yeats, and Langston Hughes to Elizabeth Bishop, Lorna Goodison, and Agha Shahid Ali, Ramazani reveals the many ways in which modern and contemporary poetry in English overflows national borders and exceeds the scope of national literary paradigms. Through a variety of transnational templates—globalization, migration, travel, genre, influence, modernity, decolonization, and diaspora—he discovers poetic connection and dialogue across nations and even hemispheres.

    Building on Orientalist stereotypes constructed over centuries, the figure of the wily Arab has given rise, at the dawn of the twenty-first century, to the "Islamist" terrorist. In Idols in the East, Suzanne Conklin Akbari explores the premodern background of some of the Orientalist types still pervasive in present-day depictions of Muslims--the irascible and irrational Arab, the religiously deviant Islamist--and about how these stereotypes developed over time.Idols in the East contributes to the recent surge of interest in European encounters with Islam and the Orient in the premodern world. Focusing on the medieval period, Akbari examines a broad range of texts including encyclopedias, maps, medical and astronomical treatises, chansons de geste, romances, and allegories to paint an unusually diverse portrait of medieval culture. Among the texts she considers are The Book of John Mandeville, The Song of Roland, Parzival, and Dante's Divine Comedy. From them she reveals how medieval writers and readers understood and explained the differences they saw between themselves and the Muslim other. Looking forward, Akbari also comes to terms with how these medieval conceptions fit with modern discussions of Orientalism, thus providing an important theoretical link to postcolonial and postimperial scholarship on later periods. Far reaching in its implications and balanced in its judgments, Idols in the East will be of great interest to not only scholars and students of the Middle Ages but also anyone interested in the roots of Orientalism and its tangled relationship to modern racism and anti-Semitism.

    The bestsellers tell the story of a regular girl’s relationship with a vampire who has chosen to follow his “good” side. But the Saga isn’t just another fantasy–it’s teaching girls about love, sex, and purpose. With 48 million copies in print and a succession of upcoming blockbuster films, now is the time to ask the important question: Can vampires teach us about God’s plan for love?Touched by a Vampire is the first book to investigate the themes of the Twilight Saga from a Biblical perspective. Some Christian readers have praised moral principles illustrated in the story, such as premarital sexual abstinence, which align with Meyer’s Mormon beliefs. But ultimately, Beth Felker Jones examines whether the story’s redemptive qualities outshine its darkness.Cautionary, thoughtful, and challenging, Touched by a Vampire is written for Twilight fans, parents, teachers, and pop culture enthusiasts. It includes an overview of the series for those unfamiliar with the storyline and a discussion guide for small groups.

    

    Couser's work engages these debates by exploring the extensive number of personal narratives by or about persons with disabilities. As Couser brilliantly demonstrates through synoptic readings, these works challenge the 'preferred rhetorics' by which such narratives are usually written (triumphalist, gothic, nostalgic) while making visible the variegated nature of embodied life."---Michael Davidson, University of California, San Diego"Signifying Bodies shows us that life writing about disability is . . . everywhere. . . . From obituary to documentary film to ethnography to literary memoir to the law, the book casts a wide net, detailing how various written and filmed responses to disability both enact and resist conventional narrative patterns. [This] not only broadens our idea about where to look for life writing, but also demonstrates how thoroughly stereotypes about disability mediate our social and artistic languages---even when an author has (so-called) the best intentions."---Susannah B. Mintz, Skidmore CollegeMemoirs have enjoyed great popularity in recent years, experiencing significant sales, prominent reviews, and diverse readerships. Signifying Bodies shows that at the heart of the memoir phenomenon is our fascination with writing that focuses on what it means to live in, or be, an anomalous body---in other words, what it means to be disabled. Previous literary accounts of the disabled body have often portrayed it as a stable entity possibly signifying moral deviance or divine disfavor, but contemporary writers with disabilities are defining themselves and depicting their bodies in new ways. Using the insights of disability studies and source material ranging from the Old and New Testaments to the works of authors like Lucy Grealy and Simi Linton and including contemporary films such as Million Dollar Baby, G. Thomas Couser sheds light on a broader cultural phenomenon, exploring topics such as the ethical issues involved in disability memoirs, the rhetorical patterns they frequently employ, and the complex relationship between disability narrative and disability law.G. Thomas Couser is Professor of English at Hofstra University.

    This book builds feeling and embodied experience on to the insights into meaningfulness which the cognitive approach to literature has achieved in recent years. Taking key familiar concepts such as characterisation, tone, empathy, and identification, the book aims to describe the natural experience of literary reading in a thorough and principled way. Accessibly and informatively written, Texture draws on stylistics, psycholinguistics, critical theory and neurology to explore the nature of reading verbal art. The aim is a new cognitive aesthetics of literature for its academic, student, professional and natural readers.

    It outlines major writers, movements, and texts in the genre, established critical approaches and areas for future study. Fifty-six entries by a team of renowned international contributors are divided into four parts which look, in turn, at:history - an integrated chronological narrative of the genre's development theory - detailed accounts of major theoretical approaches including feminism, Marxism, psychoanalysis, cultural studies, postcolonialism, posthumanism and utopian studies issues and challenges - anticipates future directions for study in areas as diverse as science studies, music, design, environmentalism, ethics and alterity subgenres - a prismatic view of the genre, tracing themes and developments within specific subgenres. Bringing into dialogue the many perspectives on the genre The Routledge Companion to Science Fiction is essential reading for anyone interested in the history and the future of science fiction and the way it is taught and studied.

    Works by gothic authors such as Horace Walpole, Matthew Lewis, Ann Radcliffe, William Godwin, and Mary Shelley, as well as traditions like the Female Gothic, are examined against the backdrop of eighteenth- and nineteenth-century British political and cultural developments, culminating in a detailed and accessible exploration of the gothic’s major motifs and themes.

    Unique to this book of literary biography is the element of the photograph. With over 140 photographs throughout, the images add mood and dimension to the writing and they are often shockingly close to what the featured authors described in their own words. Lushly illustrated, and beautifully designed, the book is as much of a pleasure to look at as it is to read.Rags to riches. Forbidden loves. Supernatural experiences. Narrow escapes. Some of the greatest stories of American literature are the stories of the scribes themselves and of the places that sparked their imaginations. In 2007, writer Thomas Hummel and photographer Tamra Dempsey set out in search of the sources of inspiration for 26 of this country's greatest authors. Two years and twenty thousand miles later, the result is A Journey Through Literary America -- a literary pilgrimage in photography and prose. In the words of one reviewer, "this is a beautiful and necessary book."

    With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature. At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.

    It demonstrates that, rather than representing a largely conventional, conservative view of sexuality and gender, he presents a distinctly queer corpus, everywhere fascinated by the diversity of gender roles, the expandability of notions of the family, and the complex multiplicity of sexual desire. The book examines the long overlooked figures of bachelor fathers, martially resistant men, and male nurses. It explores Dickens's attention to a longing, not to reproduce, but to nurture, his interest in healing touch, and his articulation, over the course of his career, of homoerotic desire.Holly Furneaux places Dickens's writing in a broad literary and social context, alongside authors including Bulwer-Lytton, Tennyson, Braddon, Collins, and Whitman, to make a case for Dickens's central position in queer literary history. Examining novels, poetry, life-writing, journalism, and legal and political debates, Queer Dickens argues that this eminent Victorian can direct us to the ways in which his culture could, and did, comfortably accommodate homoeroticism and families of choice. Further, it contends that Dickens's portrayals of nurturing masculinity and his concern with touch and affect between men challenge what we have been used to thinking about Victorian ideals of maleness.Queer Dickens intervenes in current debates about the Victorians (neither so punitive nor so prudish as we once imagined) and about the methodologies of the histories of the family and of sexuality. It makes the case for a more optimistic, nurturing, and life-affirming trajectory in queer theory.

    Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe’s own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide.Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque.Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora

    Viking romance, religious thrillers) and reader interest showing no signs of slowing down. This follow-up to Johnson's critically acclaimed guide published in 2005 covers new territory by focusing on English-language historical novels for adults published between mid-2004 and mid-2008, in particular those commonly found in American public library collections. The author's unique approach involves classifying titles by subgenres, rather than strictly by geography and chronology; thereby grouping read-alikes together. It gives users a deeper understanding of the genre, an update on new titles, and an easy way to identify read-alikes and book club selections for library patrons. More than 2700 historical fiction titles, about 2,000 new to this volume, are organized and described.

    Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.Affective Meditation and the Invention of Medieval Compassion advances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of F�camp's Libellus to the Meditationes Vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love's Mirror and a wide range of Passion lyrics and laments, Affective Meditation and the Invention of Medieval Compassion illuminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.

    . . cacodaemoniacal . . . lucubration . . . Have you ever wondered about the meaning of these and other esoteric words used by Lovecraft and his colleagues? In this immense dictionary, the product of years of scholarship and research, Dan Clore not only defines thousands of words found in the work of H. P. Lovecraft, Clark Ashton Smith, Robert E. Howard, and others, but supplies their derivation and, most impressively, provides parallel usages of the words from centuries of English usage, citing authors ranging from Cotton Mather to Henry Kuttner, from Edmund Spenser to Samuel R. Delany. This is a volume that scholars of English usage, enthusiasts of fantasy and horror literature, and readers who love the beauty of the English language will find richly rewarding . . . either to read from beginning to end or to dip into as the mood strikes them. Dan Clore is a free-lance writer and scholar who has published articles in Lovecraft Studies, Studies in Weird Fiction and numerous other journals and critical anthologies. His fiction is collected in The Unspeakable and Others, first published in 2001.

    The eighth in an on-going, near thirty-year collaboration between Stratford wood engraver Gerard Brender A Brandis and the Porcupine's Quill that started in 1980 with the publication of "Wood, Ink & Paper," which has sold almost 5000 copies in 28 years.Twenty-four new engravings which depict all 27 musical instruments mentioned in Shakespeare.A companion volume to "A Gathering of Flowers from Shakespeare" (PQL 2006).

    The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp s apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors s control."

    Yet this very challenge makes postmodern writing so much fun to read and rewarding to study. Unlike most introductions to postmodernism and fiction, this book places the emphasis on literature rather than theory. It introduces the most prominent British and American novelists associated with postmodernism, from the 'pioneers', Beckett, Borges and Burroughs, to important post-war writers such as Pynchon, Carter, Atwood, Morrison, Gibson, Auster, DeLillo, and Ellis. Designed for students and clearly written, this Introduction explains the preoccupations, styles and techniques that unite postmodern authors. Their work is characterized by a self-reflexive acknowledgement of its status as fiction, and by the various ways in which it challenges readers to question common-sense and commonplace assumptions about literature.

    Leitch's classic book, American Literary Criticism from the 30s to the 80s following the development of the American academy right up to the present day.Updated throughout and with a brand new chapter, this second edition:provides a critical history of American literary theory and practice, discussing the impact of major schools and movements examines the social and cultural background to literary research, considering the role of key theories and practices provides profiles of major figures and influential texts, outlining the connections among theorists presents a new chapter on developments since the 1980s, including discussions of feminist, queer, postcolonial and ethnic criticism. Comprehensive and engaging, this book offers a crucial overview of the development of literary studies in American universities, and a springboard to further research for all those interested in the development and study of Literature.

    Ranging from Aladdin to Toy Story to Up, these popular films are key media through which children (and adults) learn about the world and how to behave. While racial and gender stereotypes may not be as obvious as they may have been in films of decades past, they often continue to convey troubling messages and stereotypes in subtle and surprising ways.

    This collection of essays traces the roots of the Gothic to an unexpected source: eighteenth-century interpretations of Shakespeare. Through close attention to literary, cultural, and historical detail, the contributors demonstrate that even as Shakespeare was being established as the supreme British writer, he was also being cited as justification for early Gothic writers’ abandonment of literary decorum and their interest in the supernatural.

    Harlan Wilson measures the evolution of the human condition as it has been represented by postcapitalist science fiction, which has consistently represented the body and subjectivity as ultraviolent pathological phenomena. Operating under the assumption that selfhood is a technology, Wilson studies the emergence of selfhood in philosophy (Deleuze & Guattari), fiction (William S. Burroughs' cut-up novels and Max Barry's Jennifer Government), and cinema (Army of Darkness, Vanilla Sky, and the Matrix trilogy) in an attempt to portray the schizophrenic rigor of twenty-first century mediatized life. We are obligated by the pathological unconscious to always choose to be enslaved by capital and its hi-tech arsenal. The universe of consumer-capitalism, Wilson argues, is an illusory prison from which there is no escape-despite the fact that it is illusory.

    In crucial ways, she suggests, colonialism reconfigured the sensorium of colonizer and colonized, generating novel experiences of desire, taste, and appetite as well as new technologies of the embodied self. For colonizers, Indian nationalists, diasporic persons, and others in the colonial and postcolonial world orders, the alimentary tract functioned as an important corporeal, psychoaffective, and ethicopolitical contact zone, in which questions of identification, desire, difference, and responsibility were staged.Interpreting texts that have addressed cooking, dining, taste, hungers, excesses, and aversions in South Asia and its diaspora since the mid-nineteenth century, Roy relates historical events and literary figures to tropes of disgust, abstention, dearth, and appetite. She analyzes the fears of pollution and deprivation conveyed in British accounts of the so-called Mutiny of 1857, complicates understandings of Mohandas K. Gandhi’s vegetarianism, examines the “famine fictions” of the novelist-actor Mahasweta Devi, and reflects on the diasporic cookbooks and screen performances of Madhur Jaffrey. This account of richly visceral global modernity furnishes readers with a new idiom for understanding historical action and cultural transformation.

    They have typically been regarded as frivolous and expensive entertainments. This book dispels this notion, emphasizing instead that they were embedded in the politics of the moment, and spoke in complex ways to the different audiences who viewed them. Covering the whole period from Queen Anne's first masque at Winchester in 1603 to Salmacida Spolia in 1640, Butler looks in depth at the political functions of state festivity. The book contextualizes masque performances in intricate detail, and analyzes how they shaped, managed, and influenced the public face of the Stuart kingship. Butler presents the masques as a vehicle through which we can read the early Stuart court's political aspirations and the changing functions of royal culture in a period of often radical instability.

    Six case studies draw on CEO memoirs, annual reports, management manuals, advertising campaigns, and other sources to analyze the self-representations and rhetorical maneuvers that corporations use to obscure the full extent of their power. Images of corporate character and responsibility are intertwined with the changes in local economy, politics, and culture wrought by globalization and neoliberalism. The contributors to this volume describe the effects of specific corporate practices on individuals and communities and how activists and academics are responding to labor and environmental abuses.

    This guide contains a selection of the finest contemporary criticism of these classic plays.

    Montgomery's intelligence, her drive, and her sense of humour are essential components of this success. Waterston also features what Montgomery called her "dream life," a "strange inner life of fancy which had always existed side by side with my outer life." This special ability to look beyond the veil, to access vibrant inner vistas, produced deceptively layered fictions out of a life that saw not just its share of both fame and ill fortune, but also what Waterston calls "dark passions."A true reader's guide, Magic Island explores the world of L.M. Montgomery in a way never done before. Each chapter of Magic Island discusses a different Montgomery book, following their progression chronologically. Waterston draws parallels between Montgomery's internal "island," her personal life, her professional career, and the characters in her novels. Designed to be read alongside the new biography of Montgomery by Mary Rubio, this is the first book to reinterpret Montgomery's writing in light of important new information about her life. A must-read for any Montgomery fan, Magic Island offers a fresh and insightful look at the world of L.M. Montgomery and the "magic" of artistic creation.

    Memoiristic and autobiographical pieces that introduce Grünbein, the man and the author, and tell the story of the making of a poet and thinker toward the end of a century marked by global political strife, unprecedented human suffering, long decades of totalitarian rule, and, in its final quarter, the dawn of a new, post–Cold War world order; essays that focus on Grünbein's major philosophical and aesthetic concerns, such as the intersection of art and science, literature and biology; extended reflections on the existential, cultural, political, and ethical import of the poet's craft in the contemporary world; and, finally, explorations of the meaning of classical antiquity for the present—all contribute to making.

    M. Tadiar offers a new paradigm for understanding politics and globalization. Her analysis illuminates both the power of Filipino subaltern experience to shape social and economic realities and the critical role of the nation’s writers and poets in that process. Through close readings of poems, short stories, and novels brought into conversation with scholarship in anthropology, sociology, politics, and economics, Tadiar demonstrates how the devalued experiences of the Philippines’ vast subaltern populations—experiences that “fall away” from the attention of mainstream and progressive accounts of the global capitalist present—help to create the material conditions of social life that feminists, urban activists, and revolutionaries seek to transform. Reading these “fallout” experiences as vital yet overlooked forms of political agency, Tadiar offers a new and provocative analysis of the unrecognized productive forces at work in global trends such as the growth of migrant domestic labor, the emergence of postcolonial “civil society,” and the “democratization” of formerly authoritarian nations.Tadiar treats the historical experiences articulated in feminist, urban protest, and revolutionary literatures of the 1960s–90s as “cultural software” for the transformation of dominant social relations. She considers feminist literature in relation to the feminization of labor in the 1970s, when between 300,000 and 500,000 prostitutes were working in the areas around U.S. military bases, and in the 1980s and 1990s, when more than five million Filipinas left the country to toil as maids, nannies, nurses, and sex workers. She reads urban protest literature in relation to authoritarian modernization and crony capitalism, and she reevaluates revolutionary literature’s constructions of the heroic revolutionary subject and the messianic masses, probing these social movements’ unexhausted cultural resources for radical change.

    While many critics propose that the Gothic has been exhausted, and that its significance is depleted by consumer society's obsession with instantaneous horror, analyses of a number of terror-based postmodernist novels here suggest that the Gothic is still very much animated in Gothic-postmodernism. These analyses observe the spectral characters, doppelgangers, hellish waste lands and the demonised or possessed that inhabit texts such as Paul Auster's City of Glass, Salman Rushdie's The Satanic Verses and Bret Easton Ellis's Lunar Park. However, it is the deeper issue of the lingering emotion of terror as it relates to loss of reality and self, and to death, that is central to the study; a notion of 'terror' formulated from the theories of continental philosophers and contemporary cultural theorists. With a firm emphasis on the sublime and the unrepresentable as fundamental to this experience of terror; vital to the Gothic genre; and central to the postmodern experience, this study offers an insightful and concise definition of Gothic-postmodernism. It firmly argues that 'terror' (with all that it involves) remains a connecting and potent link between the Gothic and postmodernism: two modes of literature that together offer a unique voicing of the unspeakable terrors of postmodernity.

    A lucid intervention in current debates about identity and difference, this book uses the concept of Otherness to look again at both Gothic fiction and Postcolonialism.

    Her unique literary genius, pioneering work for women's rights, position at the nucleus of the Bloomsbury group, high-profile family and marriage, relationship with Vita Sackville-West, and suicide have all been dissected. Life and art were, for Woolf, inextricably entangled, and the autobiographical elements of many of her works, including the masterpieces "To the Lighthouse" and" The Waves," have heightened interest in this most fascinating of figures. Elizabeth Wright here takes a fresh look at the life and legacy of one of the greatest figures of English literature. Perfect for Woolf enthusiasts and newcomers alike, " Brief Lives: Virginia Woolf" offers a concise, authoritative account of the author's life, and presents an engaging overview of her afterlife in literary history.

    Like William James or Gilles Deleuze, Souriau methodically defends the thesis of an existential pluralism. There are indeed different manners of existing and even different degrees or intensities of existence: from pure phenomena to objectivized things, by way of the virtual and the “super-existent,” to which works of art and the intellect, and even morality, bear witness. Existence is polyphonic, and, as a result, the world is considerably enriched and enlarged. Beyond all that exists in the ordinary sense of the term, it is necessary to allow for all sorts of virtual and ephemeral states, transitional realms, and barely begun realities, still in the making, all of which constitute so many “inter-worlds.”

    Elisa Glick argues that the gay subject emerged out of the specifically modern, capitalist contradiction between the public world of production and industry and the private world of consumption and pleasure. Boldly bringing modernism into dialogue with Marxist and queer theory, Glick offers an innovative, materialist account of modern queer consciousness that challenges tendencies to oppose private eroticism and the systems of value that govern public interests. In the process she illuminates the connections between aesthetic, sexual, and social formations in modern life--between modernity's disruptive, queer desires and their unfolding in an increasingly rationalized society.

    This informal group of poets and painters, writers and critics, which included Virginia and Leonard Woolf, Clive and Vanessa Bell, Duncan Grant, Vita Sackville-West, and Bertrand Russell, among others, may have called then-fashionable central London their home, but to generations of future scholars, writers, and cultural aficionados, they helped to locate Modernism both critically and geographically. Now, for the first time, the British Library has gathered their voices and reminiscences together on a masterly two-disc set, which draws on long-unheard BBC archives, many of which will be available for the first time. Among the unforgettable tracks heard in this collection are: Virginia Woolf reading an extract from a radio talk on the importance of languageLeonard Woolf proffering a Who’s Who of the Bloomsbury GroupDesmond McCarthy meditating on “tears” in literatureDuncan Grant discussing the infamous Dreadnought HoaxClive Bell remembering Lytton Strachey asking, “Who would you most like to see coming up the drive?”Frances Partridge speaking about the Group’s larger influenceWilliam Plomer discussing the Group’s exclusivityDavid Garnett candidly describing the relationship between Lytton Strachey and Dora CarringtonDavid Cecil detailing Virginia Woolf’s day-to-day appearanceAngelica Garnett opining on various attitudes towards members of the GroupHarold Nicholson reciting a talk on the members and attitudes that dominated the GroupVita Sackville-West talking about the inspiration behind Virginia Woolf’s OrlandoQuentin Bell exactingly describing the fashions of Virginia WoolfMargery Fry holding court on Virginia Woolf’s flights of fancyBenedict Nicholson remembering Virginia Woolf’s visits to SissinghurstElizabeth Bowen recalling Bloomsbury parties and Virginia Woolf’s anticsRalph Partridge reminiscing on time spent with Leonard and Virginia WoolfJohn Lehmann describing his reactions to Woolf’s final novel, Between the ActsBertrand Russell on Lytton Strachey and his familyGerald Brenan recalling times spent with Lytton Strachey, Ralph Partridge, and Dora CarringtonGrace Higgins describing daily life at Charleston, the Bloomsbury outpost in Sussex  Running time:CD1 - 60 mins, CD2 - 68 mins

    A serial wife murderer, he keeps a horror chamber in which remains of all his previous matrimonial victims are secreted from his latest bride. She is given all the keys but forbidden to open one door of the castle. Astonishingly, this fairy tale was a nursery room staple, one of the tales translated into English from Charles Perrault's French Mother Goose Tales.Bluebeard: A Reader's Guide to the English Tradition is the first major study of the tale and its many variants (some, like -Mr. Fox, - native to England and America) in English: from the eighteenth- and nineteenth-century chapbooks, children's toybooks, pantomimes, melodramas, and circus spectaculars, through the twentieth century in music, literature, art, film, and theater.Chronicling the story's permutations, the book presents examples of English true-crime figures, male and female, called Bluebeards, from King Henry VIII to present-day examples. Bluebeard explores rare chapbooks and their illustrations and the English transformation of Bluebeard into a scimitar-wielding Turkish tyrant in a massively influential melodramatic spectacle in 1798. Following the killer's trail over the years, Casie E. Hermansson looks at the impact of nineteenth-century translations into English of the German fairy tales of the Brothers Grimm, and the particularly English story of how Bluebeard came to be known as a pirate. This book will provide readers and scholars an invaluable and thorough grasp on the many strands of this tale over centuries of telling.

    Jazz, in particular, was a decisive influence on their thinking, and, as The Shadow and the Act reveals, they drew on their insights into the creative process of improvisation to analyze race and politics in the civil rights era. In this inspired study, Walton M. Muyumba situates them as a jazz trio, demonstrating how Ellison, Baraka, and Baldwin’s individual works form a series of calls and responses with each other. Muyumba connects their writings on jazz to the philosophical tradition of pragmatism, particularly its support for more freedom for individuals and more democratic societies. He examines the way they responded to and elaborated on that lineage, showing how they significantly broadened it by addressing the African American experience, especially its aesthetics. Ultimately, Muyumba contends, the trio enacted pragmatist principles by effectively communicating the social and political benefits of African Americans fully entering society, thereby compelling America to move closer to its democratic ideals.

    

    In a collection of essays that engage with literature, history, poetry, dramaturgy, psychoanalysis, ethnology and structuralism, Derrida demonstrates how philosophy and literature might be read, and revolutionizes our understanding of writing, difference and life itself. This introduction is the ideal companion to an unprecedented and influential group of texts.

    While legal sections of Talmud constitute the bedrock of Jewish life and religious practice, aggadic sections explore the rich world of Jewish ethics, psychology, wisdom, philosophy, and theology. Fresh Fruit and Vintage Wine: The Ethics and Wisdom of the Aggada opens a window into this world for scholar and layperson alike.Jewish tradition includes a great deal of excellent commentary on the psychologically astute stories and insightful ethical maxims of the Aggada. In Fresh Fruit and Vintage Wine, Rabbi Yitzchak Blau provides access to this material culled from the broad range of Jewish literature: talmudic commentaries, works of Jewish philosophy, Hasidic homilies, biblical commentaries, and ethical tracts. Insights adapted from the finest examples of Western literature also aid the interpretative process.Fresh Fruit and Vintage Wine takes the enduring wisdom of ancient texts and expresses it with freshness and vitality. The volume speaks directly to religious issues: Jewish philosophy, prayer, festivals, character traits, halakhic observance, a balanced religious life, education, and modernity. The writing is lively, engaging the mind and elevating the soul, and the unfolding meaning is a profound and original experience of studying Torah.

    Analyzing numerous examples from 1760 to 1830, David Duff examines the generic innovations and experiments which propel the Romantic 'revolution in literature', but also the fascination with archaic forms such as the ballad, sonnet, epic and romance, whose revival and transformation make Romanticism a 'retro' movement as well as a revolutionary one. The tension between the drives to 'make it old' and to 'make it new' generates one of the most dynamic phases in the history of literature, whose complications are played out in the critical writing of the period as well as its creative literature.Incorporating extensive research on classification systems and reception history as well as on literary forms themselves, Romanticism and the Uses of Genre demonstrates how new ideas about the role and status of genre influenced not only authors but also publishers, editors, reviewers, and readers. The focus is on poetry, but a wider spectrum of genres is considered, a central theme being the relationship - hierarchical, competitive, combinatory - between genres. Among the topics addressed are generic primitivism and forgery; Enlightenment theory and the 'cognitive turn'; the impact of German transcendental aesthetics; organic and anti-organic form; the role of genre in the French Revolution debate; the poetics of the fragment and sketch; and the theory and practice of genre-mixing.Unprecedented in its scope and detail, this important book establishes a new way of reading Romantic literature which brings into focus for the first time its tangled relationship with genre.

    No previous work has drawn on such a comprehensive range of commentaries and covered such a wide spectrum oftheological approaches. On the Nature of the Divine analyses the works of Sunni, Shi'i, Ibadi, Mu'tazili, and Sufi commentators on six Qur'anic verses, revealing varied approaches to the scripture and its meaning. In their attempts to discern God's nature, the commentators inevitably introduce their theological concerns.Contextual introductions and annotated translations allow the reader to follow the genesis of key intellectual debates and religio-political attitudes still relevant to the lives of Muslims today. This combination of previously untranslated texts and extensive annotation provides an invaluable andinnovative contribution to the field of Islamic Studies.

    There has been an explosion of new work in the field, which has been driven into even greater prominence by contemporary world events. However, this resurgence has brought with it disputes between those who are labelled as exponents of a 'new imperial history' and those who can, by default, be termed old imperial historians.This collection not only gathers together some of the most important, influential and controversial work which has come to be labelled 'new imperial history', but also presents key examples of innovative recent writing across the broader fields of imperial and colonial studies.This book is the perfect companion for any student interested in empires and global history.

    In many ways, however, much work is still required in this fertile field. Reinterpreting the Haitian Revolution and Its Cultural Aftershocks, the first collection of essays edited by Martin Munro and Elizabeth Walcott-Hackshaw, addressed the repercussions of the Haitian Revolution in Haiti, the Caribbean, North America and Europe. This present volume develops and complements the previous collection to meet the growing demand for original scholarly work on Haiti. Widening the cultural lens to include diasporic studies, art, and questions of race and gender, Echoes of the Haitian Revolution exposes how the history of Haiti has shaped our ideas of race, nation and civilization in ways that we are often unaware of. Haiti's lessons continue to engage us in a dynamic dialog that compels us to question and revisit received arguments. The essays collected here provoke and stimulate these necessary conversations by approaching the legacies and repercussions of the revolution from a cultural perspective.

    The text of her Revelation has circulated continually since the fifteenth century, but the twentieth century saw a massive expansion of her popularity. Theological or literary-historical studies of Julian may remark in passing on her popularity, but none have attempted a detailed study of her reception. This collection fills that gap: it outlines the full reception history from the extant manuscripts to the present day, looking at Julian in devotional cultures, in modernist poetry and present-day popular literature, and in her iconography in Norwich, both as a pilgrimage site and a tourist attraction.

    Three giants of contemporary fiction—J. M. Coetzee, Philip Roth, and W. G. Sebald—have all acknowledged their debt to the work of Kafka, both in interviews and in their own academic essays and articles for a general readership about him. In this striking feat of literary scholarship, Daniel Medin finds that the use of Kafka by Coetzee, Roth, and Sebald is similarly self-reflexive and autobiographical. That writers from such divergent national and ethnic traditions can have such unique critical readings of Kafka, and that Kafka could exert such a powerful influence over their oeuvres, Medin contends, attests to the central place of Kafka in the contemporary literary imagination.

    The first of its kind, it chronicles the development of this literature from its inception at the turn of the past century until the post 9/11 era. The book sheds light not only on the historical but also on the cultural and aesthetic value of this literary production, which has so far received little scholarly attention. It also seeks to place anglophone Arab literary works within the larger nomenclature of postcolonial, emerging, and ethnic literature, as it finds that the authors are haunted by the same 'hybrid', 'exilic', and 'diasporic' questions that have dogged their fellow postcolonialists. Issues of belonging, loyalty, and affinity are recognized and dealt with in the various essays, as are the various concerns involved in cultural and relational identification. The contributors to this volume come from different national backgrounds and share in examining the nuances of this emerging literature. Authors discussed include Elmaz Abinader, Diana Abu-Jaber, Leila Aboulela, Leila Ahmed, Rabih Alameddine, Edward Atiyah, Shaw Dallal, Ibrahim Fawal, Fadia Faqir, Khalil Gibran, Suheir Hammad, Loubna Haikal, Nada Awar Jarrar, Jad El Hage, Lawrence Joseph, Mohja Kahf, Jamal Mahjoub, Hisham Matar, Dunya Mikhail, Samia Serageldine, Naomi Shihab Nye, Ameen Rihani, Mona Simpson, Ahdaf Soueif, and Cecile Yazbak.Contributors: Victoria M. Abboud, Diya M. Abdo, Samaa Abdurraqib, Marta Cariello, Carol Fadda-Conrey, Cristina Garrig�s, Lamia Hammad, Yasmeen Hanoosh, Wa�l S. Hassan, Richard E. Hishmeh, Syrine Hout, Layla Al Maleh, Brinda J. Mehta, Dawn Mirapuri, Geoffrey P. Nash, Boulus Sarru, Fadia Fayez Suyoufie

    and over twenty-four centuries the mirror of satirical literature has taken on many shapes. Yet certain techniques recur continually, certain themes are timeless, and some targets are perennial. Politics (the mismanagement of men by other men) has always been a target of satire, as has the war between sexes.The universality of satire as a mode and creative impulse is demonstrated by the cross-cultural development of lampoon and travesty. Its deep roots and variety are shown by the persistence of allegory, fable, aphorism, and other literary subgenres. Hodgart analyzes satire at some of its most exuberant moments in Western literature, from Aristophanes to Brecht. His analysis is supplemented by a selection and discussion of prints and cartoons.Satire continues to help us make sense of the conventions that seem to have been almost genetically transmitted from their satiric ancestors to our digital contemporaries. This is especially evident in Hodgart's repeated references to satire's predilection for the ephemeral, for camouflaging itself among the everyday, for speaking to the moment, and thus for integrating itself as deeply as possible into society. Brian Connery's new introduction places Hodgart's analysis in its proper place in the development of twentieth-century criticism.

    She relocated to California in 1933 and lived most of her life in San Francisco. From 1962 on, she sojourned frequently in Massachusetts, New Hampshire, Santa Cruz, and Soquel, California. She was a 1920s "hell-cat"; a 1930s revolutionary; an early 1940s crusader for equal pay for equal work and a war-relief patriot; an ex-GI's ideal wife in the later 1940s; a victim of FBI surveillance in the 1950s;a civil rights and antiwar advocate during the 1960s and 1970s; and a life-long orator for universal human rights.The enigma of Tillie Olsen is intertwined with that of the twentieth century. From the rebellions in Czarist Russia, through the terrors of the Depression and the hopes of the New Deal, to World War II, the Nuremberg Trials, and the United Nations' founding, to the cold war and House Un-American Activities Committee hearings, to later progressive and repressive movements, the story of Olsen's life brings remote events into focus.In her classic short story "I Stand Here Ironing" and her groundbreaking Tell Me a Riddle, Yonnondido, and Silences, Olsen scripted powerful, moving prose about ordinary people's lives, exposing the pervasive effects of sexism, racism, and classism and elevating motherhood and women's creativity into topics of study. Popularly referred to as "Saint Tillie," Olsen was hailed by many as the mother of modern feminism.Based on diaries, letters, manuscripts, private documents, resurrected public records, and countless interviews, Reid's artfully crafted biography untangles some of the puzzling knots of the last century's triumphs and failures and speaks truth to legend, correcting fabrications and myths about and also by Tillie Olsen.

    Oppen's Of Being Numerous won the Pulitzer Prize for poetry in 1969, and his influence on subsequent generations of poets has been profound. The contributors to this unique collection of essays are both poets and critics who adopt a variety of critical stances. Some write as fellow poets who knew Oppen well during his lifetime and who have been deeply influenced by his example in their own work. Others write as poet-critics affiliated with the Language Poetry movement and bring to Oppen's work a keen appreciation for its relevance to contemporary avant-garde poetics. Still others come to Oppen as members of a younger generation of readers and writers working to articulate a new stage in Oppen's reception. The result is a rich and productive critical dialogue, touching on many of the most significant facets of Oppen's life and work. Thinking Poetics is a testament to Oppen's place in 20th and 21st-century poetic culture and an essential volume for anyone interested in Oppen's life or poetry.

    Thanks to the latest scholarly editions of Wordsworth, Walker introduces previously undiscussed material.Walker reads conjugality as the compulsory ground of modern identity, an Enlightenment legacy we still grapple with today, and offers new perspectives on literature through the writing of Austen and Wordsworth and theories of marriage in Godwin, Wollstonecraft, Hegel, Kierkegaard, and, in our time, Adam Phillips and Stanley Cavell.

    Various forms of attention are considered under the headings of Genres (from Ancient Epic to the Novel and Contemporary Experimental Writing), Periods (from Realism and Romanticism to Postcolonialism), Devices and Powers (Imagination, Plot, Character, Style, and Emotion), and Contexts and Uses (in relation to inquiry, morality, and politics). In each case, the effort is to track and evaluate how specific modes and works of imaginative literature answer to important needs of human subjects for orientation, the articulation of interest in life, and the working through of emotion, within situations that are both sociohistorical and human. Hence these essays show how and why literature matters in manifold ways in and for human cultural life, and they show how philosophers and imaginative literary writers have continually both engaged with and criticized each other.

    C. Hallman has pored through countless collected essays of notable authors, searching for pieces in which the author approaches literature from a personal angle. The results are a fantastic, provocative, intelligent, and, at times, hilarious discussion of literature and life. Never before collected in a single volume, the essays in The Story About the Story feature lively discussions of great literature by some of the most prominent authors of all time. With over thirty essays written by authors as diverse as Oscar Wilde and Virginia Woolf to Cynthia Ozick and Salman Rushdie, this collection offers an invaluable course on literature as well as a look into “Creative Criticism,” a form of critical essay that involves a personal perspective.Writers such as William Gass, Wallace Stegner, Albert Camus, Milan Kundera, Susan Sontag, James Wood, E. B. White, Herman Hesse, Cynthia Ozick, Walter Kirn, and Michael Chabon discuss the work of such luminaries as Marcel Proust, J. D. Salinger, Franz Kafka, John Keats, Malcolm Lowry, T. S. Eliot, Anton Chekhov, Robert Lowell, Fyodor Dostoevsky, Henry David Thoreau, Cormac McCarthy, Truman Capote, and John Steinbeck.

    He is not only a productive literary theorist, but also a novelist and playwright. He remains a committed socialist deeply hostile to the zeitgeist. Over the last forty years his public interventions have enlivened an otherwise bland and conformist culture. His pen, as many colleagues in the academy—including Harold Bloom, Gayatri Spivak and Homi Bhabha—have learned, is merciless and unsparing. As a critic Eagleton has not shied away from confronting the high priests of native conformity as highlighted by his coruscating polemic against Martin Amis on the issue of civil liberties and religion.This comprehensive volume of interviews covers both his life and the development of his thought and politics. Lively and insightful, they will appeal not only to those with an interest in Eagleton himself, but to all those interested in the evolution of radical politics, modernism, cultural theory, the history of ideas, sociology, semantic inquiry and the state of Marxist theory.

    For millennia, it has also been one of the most pervasive images in human mythology, art, and psychology. Wolves and the Wolf Myth in American Literature examines the wolf’s importance as a figure in literature from the perspectives of both the animal’s physical reality and the ways in which writers imagine and portray it. Author S. K. Robisch examines more than two hundred texts written in North America about wolves or including them as central figures. From this foundation, he demonstrates the wolf’s role as an archetype in the collective unconscious, its importance in our national culture, and its ecological value. Robisch takes a multidisciplinary approach to his study, employing a broad range of sources: myths and legends from around the world; symbology; classic and popular literature; films; the work of scientists in a number of disciplines; human psychology; and field work conducted by himself and others. By combining the fundamentals of scientific study with close readings of wide-ranging literary texts, Robisch astutely analyzes the correlation between actual, living wolves and their representation on the page and in the human mind. He also considers the relationship between literary art and the natural world, and argues for a new approach to literary study, an ecocriticism that moves beyond anthropocentrism to examine the complicated relationship between humans and nature.

    Provides the most comprehensive and up-to-date array of Austen scholarship Functions both as a scholarly reference and as a survey of the most innovative speculative developments in the field of Austen studies Engages at length with changing contexts and cultures of reception from the nineteenth to the twenty-first centuries

    Reference. Criticism. Poet, educator, and Poetry Foundation bestseller Alice B. Fogel has written the perfect book for those who feel uncomfortable with reading poetry. Divided into eight "steps," this "handbook" looks at such topics as shape, words, sound, images, and emotion. Fogel illustrates each step from her own poetry. "Great advice, good humor, excellent examples . . . and not textbooky. Playful and accessible, the continuing point that you don't have to 'get' poems to get them will ease a lot of minds. This is an important and mysterious subject-the reading of poetry. I learned a lot. Painlessly"--Rebecca Rule. The book is an essential resource for individuals, reading groups, teachers--even friends and families of poets who want to feel more comfortable with poetry.

    This is their solution to the ‘abnormal’ condition of European Jews, who are without a land and are not a nation. To achieve this, they must seize Palestine; induce Western Jews to become colonists; and, above all, recruit Western powers to adopt their colonial project.Zionists can only succeed by creating Islamicate enemies; they need resurgent anti-Semitism to send Jewish colonies to Palestine; and they must persuade/coerce the West to stand behind their colonial project. In succeeding, the Zionists merely transplant Jewish abnormality from Europe to the Middle East – and make it worse. In Europe, Jewish-Gentile frictions were local problems; in Israel, ominously, they have come to form the pivot of a global conflict that pits the West against the Islamicate.

    Having just returned from Paris where he had met James Joyce, Beckett’s brief academic career at Trinity College is detailed through a student’s extensive notes from modern French lectures delivered in 1930 and 1931. Outlining Beckett’s opinions and thoughts during a formative intellectual period, many important questions are explored, such as How did he define the modern novel of his day? What should literature strive to achieve? and What should literature avoid? Revealing the authors that he studied, praised, and criticized—including Racine, Flaubert, Balzac, Gide, Stendahl, and Dostoyevsky—this informative study of his early teachings examine his preferences as a reader and the literary theories he was developing that later influenced his novels and drama. The many arguments discussed in this perceptive history provide an understanding of the intellectual basis of modernism and spotlight a previously unstudied stage in life of one of the greatest writers of the 20th century.

    Drawing upon ancient Greek and Roman texts, as well as contemporary media events, Jennifer R. Ballengee explores the spectacle of torture as a persuasive device. She suggests that both torture and the witnessing of torture are forms of polemical writing, carried out on the body. The analysis combines close reading and philological study with a materialist cultural approach to ancient Greek theater, early Christian accounts of martyrdom, and recent political controversies over the interrogation tactics in the U.S. government-run Guantanamo and Abu Ghraib prisons. By incorporating key classical texts by Sophocles, Achilles Tatius, and Prudentius, the author demonstrates how deeply the ancient literature resonates with contemporary issues of the body, rhetoric, and the spectacle of pain.

    A beloved collection of 25,000 picturesque, alliterative verses full of anecdotes and parables on what appear to be loosely connected themes, the Mathnawī presents itself as spontaneous and unplanned. However, as Seyed Ghahreman Safavi and Simon Weightman demonstrate, the work has a sophisticated design that deliberately hides the spiritual so that readers, as seekers, have to find it for themselves--it is not only about spiritual training, it is spiritual training. Along with a full synoptic reading of the whole of Book One, the authors provide material on Rumī's life, his religious position, and his literary antecedents. Safavi and Weightman have provided readers, students, and scholars with a valuable resource: the guide that they wished they had had prior to their own reading of this great spiritual classic.

    The study of this reception is important for understanding not only the all-pervasive literary influence of ancient Greek epic traditions but also the various ways in which these traditions were used by individuals and states to promote their own cultural and political agenda. The aim of this book, which centers on ancient concepts of Homer as the author of a body of poetry that we know as the Iliad and the Odyssey, is not to reassess the oral poetic heritage of Homeric poetry but to show how it became a classic in the days of the Athenian empire and later.This volume is one of two books stemming from six Sather Classical Lectures given in the spring semester of 2002 at the University of California at Berkeley while the author was teaching there as the Sather Professor.

    The introductory chapters first lay out the premises underlying the book and its critical context, then emphasise the need to avoid modern cultural assumptions about both male-female and male-male relationships, and underline the paramount place of homosocial bonds in Old English literature. Part II then investigates the construction of and attitudes to same-sex acts and identities in ethnographic, penitential, and theological texts, ranging widely throughout the Old English corpus and drawing on Classical, Medieval Latin, and Old Norse material. Part III expands the focus to homosocial bonds in Old English literature in order to explore the range of associations for same-sex intimacy and their representation in literary texts such as Genesis A, Beowulf, The Battle of Maldon, The Dream of the Rood, The Phoenix, and AElfric's Lives of Saints. During the course of the book's argument, David Clark uncovers several under-researched issues and suggests fruitful approaches for their investigation. He concludes that, in omitting to ask certain questions of Anglo-Saxon material, in being too willing to accept the status quo indicated by the extant corpus, in uncritically importing invisible (because normative) heterosexist assumptions in our reading, we risk misrepresenting the diversity and complexity that a more nuanced approach to issues of gender and sexuality suggests may be more genuinely characteristic of the period.

    Though Anne has always been recognized as a Canadian classic, her story is loved the world over.      In 100 Years of Anne with an “E”: The Centennial Study of Anne of Green Gables, Holly Blackford has brought together an international community of scholars who situate L. M. Montgomery’s novel in its original historical and literary context, discuss its timeless themes, and explore its aesthetic and cultural legacy across time and place.      Blackford’s collection certainly proves Anne’s international appeal, gathering contributors from Australia, Canada, Germany, Ireland, and the United States. Their essays explore diverse themes such as L.M. Montgomery’s career and writing practices, her influence on Canadian fiction, shifting views and definitions of childhood, domesticity, identity and place, and Anne on film.     This new look at the beloved red-headed orphan will appeal to any reader who just can’t get enough of Anne.

    It is an innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. The volume interprets Dante in the original Italian (as it appears in Beckett), translating into English all Italian quotations. It benefits from a multilingual approach based on Beckett's published works in English and French, and on manuscripts (which use English, French, German and Italian). The book is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies. Its jargon-free style will also attract third-year or advanced undergraduate students, and postgraduate students, as well as those readers interested in the unusual relationship between one of the greatest writers of the twentieth century and the medieval author who stands for the very idea of the Western canon.

    Petrarch: A Critical Guide to the Complete Works is the only comprehensive, single-volume source to which anyone—scholar, student, or general reader—can turn for information on each of Petrarch’s works, its place in the poet’s oeuvre, and a critical exposition of its defining features.            A sophisticated but accessible handbook that illuminates Petrarch’s love of  classical culture, his devout Christianity, his public celebrity, and his struggle for inner peace, this encyclopedic volume covers both Petrarch’s Italian and Latin writings and the various genres in which he excelled: poem, tract, dialogue, oration, and letter. A biographical introduction and chronology anchor the book, making Petrarch an invaluable resource for specialists in Italian, comparative literature, history, classics, religious studies, the Middle Ages, and the Renaissance. “A book that every medievalist and early modernist will feel obliged to own. Much like the way Durling's translation created a market for itself thirty years ago, Petrarch: A Critical Guide will deliver to us a new Petrarch, with many of the less familiar works reweighed in significance and even the principal ones freshly understood. Knowing the poet well, I was continually surprised at how much I learned from the essays." —Roland Greene, Stanford University“A provocative reference work for anyone working on the totality of Petrarch’s output. The essays combine fresh scholarship and revisionist arguments in clear, richly documented, and lucid expositions. Without great fanfare and with a keen eye for literary and historical detail, Victoria Kirkham and Armando Maggi have managed to offer original, intelligent, detailed, and inspiring interpretations of Petrarchan lyrical, historiographical and autobiographical narratives.” —Valeria Finucci, Duke University“Victoria Kirkham and Armando Maggi have given the English-speaking world a richly-textured intellectual and artistic portrait of Petrarch that will engross both the novice and the seasoned petrarchista. This veritable treasure of a book will stand the test of time.” —P. M. Forni, Johns Hopkins University

    The essays locate Shakespeare's last plays - single and co-authored - in the period of their composition, consider the significant characteristics of their Jacobean context, and explore the rich afterlives, on stage, in print and other media of The Winter's Tale, Cymbeline, The Tempest, Pericles, The Two Noble Kinsmen and Henry VIII. The volume opens with a historical timeline that places the plays in the contexts of contemporary political events, theatrical events, other cultural milestones, Shakespeare's life and that of his playing company, the King's Men.

    Applebaum argues that perceptions of technology as a corrupting force, particularly in relation to its use by young people, are a manifestation of the enduring allure of the myth of childhood innocence and result in young-adult fiction that endorses a technophobic agenda. This agenda is a form of resistance to the changing face of childhood and technology's contribution to this change. Further, Applebaum contends that technophobic literature disempowers its young readers by implying that the technologies of the future are inherently dangerous, while it neglects to acknowledge children's complex, yet pleasurable, interactions with technology today. The study looks at works by well-known authors including M.T. Anderson, Monica Hughes, Lois Lowry, Garth Nix, and Philip Reeve, and explores topics such as ecology, cloning, the impact of technology on narrative structure, and the adult-child hierarchy. While focusing on the popular genre of science fiction as a useful case study, Applebaum demonstrates that negative attitudes toward technology exist within children's literature in general, making the book of considerable interest to scholars of both science fiction and children's literature.