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The emergence of a mass reading public during the early decades of the nineteenth century sparked a period of creative innovation in the popular press. This collection focuses on the early decades of the nineteenth century as a key period of innovation in the popular press. Steam printing, popular education campaigns, and new technologies of illustration led to new trends in book and periodical production.
This scholarly edition offers the first reliably identified collection of Walter Scott's original poetry in the 'Waverley Novels', the letters and the Journal. Past editors of Scott found it hard to recognise what is and is not quotation; but thanks to modern databases the poems in this volume have been identified as almost certainly his own.
This collection demonstrates, again, Scott's brilliant versatility in the handling of verse forms and his extraordinary range of voice. The poetry of the 'Waverley Novels' is often dramatic, being uttered or sung by one of the characters; mottoes at the heads of chapters stand in a critical relationship to the narrative; the poetry of the letters and Journal is often quizzical and self-mocking; and there are many superb parodies.
As part of the 'meaning' of these poems lies in their context, this collection succinctly contextualises each one. It also provides full textual and explanatory annotation and an essay which explores, among other things, the wavering boundary between new creation and quotation.
This book is a modern edition of an Anglo-Scottish epistolary classic, drawn from the authoritative scholarly edition. The letters of Jane Welsh Carlyle are works of art in themselves but also shed light on the Victorian age and the experience of women within it. They are arranged chronologically alongside biographical summary, and include her correspondence concerning a large range of Victorian intellectuals and other identities, from Mazzini to Dickens, Elizabeth Barrett Browning to Ruskin, and Tennyson to George Eliot. The letters are commonly regarded as among the liveliest in the language, alongside those of Byron, Keats, Henry James and Virginia Woolf, and are a key document in feminist history, and the history of female authorship.
Whilst Shakespearean drama provides eloquent calls to war, more often than not these are undercut or outweighed by compelling appeals to peaceful alternatives conveyed through narrative structure, dramatic context and poetic utterance. Placing Shakespeare's works in the history of pacifist thought, Robert White argues that Shakespeare's plays consistently challenge appeals to heroism and revenge and reveal the brutal futility of war. White also examines Shakespeare's interest in the mental states of military officers when their ingrained training is tested in love relationships. In imagery and themes, war infiltrates love, with problematical consequences, reflected in Shakespeare's comedies, histories and tragedies alike. Challenging a critical orthodoxy that military engagement in war is an inevitable and necessary condition, White draws analogies with the experience of modern warfare, showing the continuing relevance of Shakespeare's plays which deal with basic issues of war and peace that are still evident.
The first half of the twentieth century was a period of accelerated resource extraction, industrial intensification and tipping points in pollution levels, hastening the emergence of an epoch in which humans are the key drivers of planetary change. Virginia Woolf and the Anthropocene situates Woolf's oeuvre as an important body of work within the literary history of our new planetary period, showing how her fiction and non-fiction engages with questions around climate change, environmental politics, imperial extractivism, eco-philosophy, species difference, natural history and extinction. Bringing together leading and emergent scholars, this collection recognises Woolf as a writer who was profoundly influenced by ecological and environmental questions throughout her life. It brings to light how Woolf responded to the environmental changes of her time and illuminates how her literary innovations continue to offer compelling ways of imagining the nonhuman and the planetary in our present moment.
Bringing together the discrete fields of appropriation and performance studies, this collection explores pivotal intersections between the two approaches to consider the ethical implications of decisions made when artists and scholars appropriate Shakespeare. The essays in this book, written by established and emerging scholars in subfields such as premodern critical race studies, gender and sexuality studies, queer theory, performance studies, adaptation/appropriation studies and fan studies, demonstrate how remaking the plays across time, cultures or media changes the nature both of what Shakespeare promises and the expectations of those promised Shakespeare. Using examples such as rap music, popular television, theatre history and twentieth-century poetry, this collection argues that understanding Shakespeare at different intersections between performance and appropriation requires continuously negotiating what is signified through Shakespeare to the communities that use and consume him.
Since Plato's Republic, mimesis - the artwork's tacit claim to reflect or imitate real life - has faced a near-constant stream of assaults, being accused of naturalising a supposedly uncomplicated relationship between world and fiction. Lines of Mimesis offers a revisionary account of mimesis. Specifically, it proposes a rethinking of the representational attitudes of two literary schools usually understood to be at odds with one another - Romanticism and Realism - through close readings of writings and drawings made by two figures usually taken to be proponents of those schools respectively: E. T. A. Hoffmann and Honoré de Balzac. Across these readings, Dickson argues that a more capacious understanding of mimesis is achieved when we understand it to pertain not to the reduplication of objects in the world, but to a negotiation of the subject's sensory entwinement with those objects. This new understanding can, in turn, more closely illuminate an artwork's own reflections on its relationship to the world, shedding light on the entanglements and crossovers between Romanticism and Realism.
Women's writing was a crucial part of the history of sexuality in the Romantic period, yet has not often been seen as part of that history. This collection shows how women writers fit into a tradition of Romanticism that recognizes transgressive sexuality as a defining feature. Building on recent research on the period's sexual culture, it shows how women writers were theorizing perversions in their literary work and often leading transgressive sexual lives. In doing so, the collection also challenges current understandings of 'transgression' as a sexual category.
Passages: On Geo-analysis and the aesthetics of precarity assembles a series of political interventions and ruminations that are as much about ethics as they are about aesthetics. It consists of a series of interconnected essays and images that intervene to create an image–text montage that reveals the shadow worlds that intensify precarity as well as the complex event and discursive spaces that offer alternative approaches to knowledge, politics, and encounters. In our dialogically created composition, the chapters treat themes such as colonialism, apocalyptic imaginaries, nuclear zones of abandonment, migration control regimes, transnational domestic work, the biocolonial hostilities of the hospitality industry, legal precarities behind the international criminal justice regime, the shadow worlds of the African soccerscape, and various immunity regimes related to the COVID-19 pandemic. Through an aesthetically attuned form of geo-analysis that offers aesthetic breaks from capitalist exploitation and the nation-statist regime, this book invites inquiry into today’s apocalyptic narratives, humanitarian reason, immunitary apparatuses, and international criminal justice regimes.
In this original study, Niall Oddy explores representations of Europe in sixteenth and early-seventeenth century French writing to argue that Europe as an idea evolved in productive dialogue with emerging national consciousness, not as an alternative to the nation state. Analysing literary texts alongside works of travel, geography, history and politics, this book demonstrates how ideas of Europe were shaped by real and imagined journeys across the globe and adapted across a range of discursive contexts for varied purposes. Using the notion of 'imagined geography' to present a conceptual map of what Europe looked like from different points across the globe, each chapter examines representations of the continent through the lens of one location (Brazil, Constantinople, Malta, Geneva). In a period of great intellectual transformation, as new interactions with cultures overseas reshaped how the wider world was understood, this focus on nationhood uncovers how, as the idea of 'Europe' developed, it emerged as a contested notion and an issue of debate.
Mina Loy is recognised as a writer who insists on the primacy of the body, but her fascination with corporeality is inextricable from her esoteric understanding of the soul. Over two volumes, Sara Crangle demonstrates how Loy's visceral focus propels a prescient, mystical feminist vision that aims to resituate marginalised subjects within modernist culture.
Nethered Regions - An Anatomy of Mina Loy provides new thinking on Loy's approach to the foundations of existence, exploring sentience, primitivism, evolution, vitalism, and sensibility. Dubbing Loy an atavistic vanguardist, this book aligns sacrifice with satire, showing how Loy resists modernist anti-sentimentality by devising a feminist satirical mode in which sardonic aggression generates intimacy and proximity, rather than ironised distance.
Loy's attention to 'low' body parts - feet, legs, genitals, bellies, wombs - is illuminated in chapters theorising her engagement with dissident sexualities (queerness, prostitution, women's pleasure); pictorial-poetic cartographies of desire; and the accursed muse, the unsung counterpart to the poète maudit.
Mina Loy is recognised as a writer who insists on the primacy of the body, but her fascination with corporeality is inextricable from her esoteric understanding of the soul. Over two volumes, Sara Crangle demonstrates how Loy's visceral focus propels a prescient feminist vision that aims to resituate marginalised subjects within modernist culture.
Elevated Realms - An Anatomy of Mina Loy is the first book-length study devoted to Loy's affinities with alternative spiritualities ancient and modern. Aligning Loy's heterodoxies with her vanguardism, this volume analyses Loy's engagements with mesmerism, spiritualism, and telepathy; enchantment and visionariness; psychoanalysis, philosophy, and physics; Christian Science and Theosophy.
Attending to Loy's presentations of the upper half of the body - heartscapes, spines, eyes, nerve centres - Elevated Realms unearths the coordinates of Loy's esoteric Eros, a transcendent, orgasmic love that is cosmic, aesthetic, and a corrective to women's disregarded satiation. The counterpart to her acerbic feminist satires, Loy's Eros transforms abjectified, feminised posturing. Always singular, Loy's embodied mysticism remains a potent model for the study of feminist spirituality in the modernist period and beyond.
The decades following the independences from colonialism saw a pioneering generation of realist novels and films emerge across Africa and South Asia. They told stories of people living through national circumstances fast diverging from the promises of decolonisation.
Subjectivity and Decolonisation in the Post-Independence Novel and Film explores how post-independence texts critique their own political conditions by choosing to narrate a different, but related, problem - that which Ngugi wa Thiong'o once called 'decolonising the mind'. Guided by the psycho-political thought of Frantz Fanon, who maps a dialectical relationship between decolonisation and the self, this book considers how eight well known and less studied works from the 1950s-1980s. Together, they help us understand how the transformation of subjectivities is a materially consequential process that sits squarely within the broader, unfinished project that is decolonisation.
This book revisits a rich but overlooked field of Nepali literature and culture. Compared to the extensive research available on Nepal's South Asian neighbors, there is a notable scarcity of published scholarship devoted to Nepali literature and society. This book addresses the gap by offering groundbreaking scholarship by a global collective of researchers specializing in Himalayan Studies, South Asian Studies, Cultural Studies and Critical Theory. It offers a nuanced and complex picture of Nepali society and history, focusing on caste, geography, gender, sexuality and ethnicity as sites of discrimination, exclusion and othering. It exposes orientalist discourses which portray Nepal as a Himalayan Shangri La and it critiques neoliberal narratives which focus on Nepal's dismal developmental indices. Switching gears by exploring a diverse body of canonical and contemporary multi-genre literary works, the book presents an alternative picture of Nepal from the perspective of those silenced by nationalism, patriarchy and casteism.
The Korean War Novel examines the ways that novels written by Korean and Asian American writers have represented the Korean War. By studying the ideological contours of works by Richard E. Kim, Ahn Junghyo, Susan Choi, Ha Jin, Choi In-hun and Hwang Sok-yong, it documents the range of historical narratives that have alternatively framed the Korean War as an international war, a civil war, a reverse postcolonial war or 'proxy war', a war between the genders, and an attempt to de-escalate the Cold War itself. The dual role of North East Asians as both victims and willing agents of the Cold War comes into focus in revisiting the conflict from the post-Cold War perspective of decolonisation. Suk Koo Rhee writes back against the authoritative version of Cold War historiography to explain the contemporary nature of the unfinished conflict on the Korean peninsula today.
Postcolonialism has long been associated with post-nationalism. Yet, the persistence of nation-oriented literatures from within the African postcolony and its diasporas registers how dreams of national becoming endure. In this fascinating new study, Hallemeier brings together African literary studies, affect studies and US empire studies, to challenge chronologies that chart a growing disillusionment with the postcolonial nation and national development across the twentieth and twenty-first centuries. The Nigerian and South African writings in African Literature and US Empire, while often attuned to the trans- and extra- national, repeatedly scrutinise why visions of national exceptionalism, signified by a 'pan-African' Nigeria and 'new' South Africa, remain stubbornly affecting, despite decades of disillusionment with national governments beholden to a neocolonial global order. In these fictions, optimistic forms of nationalism cannot be reduced to easily critiqued state-sanctioned discourses of renewal and development. They are also circulated through experiences of embodied need, quotidian aspiration and transnational, pan-African relationship.
Through an analysis of Jean-Pierre and LucDardenne’s film La Promesse’ (1996) and DiegoQuemada-Díez’s The Golden Dream (2013), thischapter explores how undocumented migrants areruthlessly exploited and exposed to death incities–London and Antwerp–and on the road,traveling from Guatemala through Mexico in anattempt to make it into the U.S. Engaged incritical commentaries on the contemporarymigratory condition articulated in global cinema,the chapter composes diverse migratory scenariosto render visible the national, urban, and racialfrontiers of human encounter in which racializedmigrant bodies experience the precarities dealt bythe protective and predatory practices of officialnational formations and opportunistic criminalenterprises, respectively.
The Introduction illustrates our commitment toaesthetics-as-method, which enables us to bringtogether diverse concepts, bodies, passages, andimages. The chapters map the political stakes of ourcommitment to aesthetics-as-method. In addition tooutlining the methods, chapters, and key concepts,the Introduction raises critical questions regardinghow everyday and historical political apparatusesand processes distribute bodies, affects, death, andsenses in ways that challenge or sustain theimmanence of sovereignty, while provoking readers toexperiment with affective intimacies that enablethem apprehend the ethical weight of proximate anddistant others.