ELT & Literary Studies Books

Book Synopsis“Every page brings forth the elegiac tone of JRR Tolkien’s work... It is a beautiful book, including many wonderful pictures by Tolkien himself… Garth’s book made me realise the impact that Tolkien has had on my life.”The Times A lavishly illustrated exploration of the places that inspired and shaped the work of J.R.R. Tolkien, creator of Middle-earth. This new book from renowned expert John Garth takes us to the places that inspired J.R.R. Tolkien to create his fictional locations in The Lord of the Rings, The Hobbit and other classic works. Featuring more than 100 images, it includes Tolkien’s own illustrations, contributions from other artists, archive images, maps and spectacular present-day photographs. Inspirational locations range across Great Britain – particularly Tolkien’s beloved West Midlands and Oxford – but also oveTrade Review“Not only a wonderfully rich & learned book but beautiful as well. I’m sure Tolkien would have loved it.” -- Tom Holland * Award-winning historian, author and broadcaster *Table of ContentsIntroduction 1. England to the Shire 2. Four Winds 3. The Land of Lúthien 4. Shore and the Sea 5. Roots of the Mountains 6. Rivers, Lakes and Waterlands 7. Tree-woven Lands 8. Ancient Imprints 9. Watch and Ward 10. Places of War 11. Craft and Industry Appendix Endnotes Select Bibliography Index Acknowledgements

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Book SynopsisOPEN ACCESSTo read the PDF of Globalising Welsh Studies: Decolonising history, heritage, society and culture for free, follow the link belowGlobalising Welsh Studies:Decolonising history, heritage, society and cultureThis book is freely available on a Creative Commons licence thanks to the kind sponsorship of the libraries participating in the Jisc Open Access Community Framework OpenUP initiative. Interest in race and ethnicity research in Wales has grown apace in the last decade, opening up wider debates about the nature, focus and content of what collectively is called Welsh Studies. Across a range of disciplines, we are witnessing not only a global turn' placing Wales more substantively within a plethora of global interconnections, but also a decolonial turn' that involves the questioning of disciplinary traditions and knowledge production, and highlighting the colonial legacy that shapes academic pursuits. In the present text, we explore the development of Welsh Studies through the lens of race/ethnicity. Contributors from history, heritage studies, literature, film, policy, social and cultural studies offer case analyses adopting new perspectives, theoretical routes and methodological innovations, with the aim of illustrating aspects of the decolonising of knowledge production.

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Book SynopsisThis first book in a three-volume collection of Georges Bataille’s essays introduces English readers to his philosophical and critical writings. In the aftermath of the Second World War, French thinker and writer Georges Bataille forged a singular path through the moral and political impasses of his age. In 1946, animated by “a need to live events in an increasingly conscious way,” and to reject any compartmentalization of intellectual life, Bataille founded the journal Critique. Adopting the format of the review essay, he surveyed the post-war cultural landscape while advancing his reflections on excess, non-knowledge, and the general economy. Focusing on literature as a mode of sovereign uselessness, he tackled prominent and divisive figures such as Henry Miller and Albert Camus. In keeping with Critique’s mission to explore the totality of human knowledge, Bataille’s articles did not just focus on the literary but featured important reflections on the science of sexuality, the Chinese Revolution, and historical accounts of drunkenness, among other matters. Throughout, he was attuned to how humanity would deal with the excessive forces of production and destruction it had unleashed, his aim being a way of thinking and living that would inhabit that excess. This is the first of three volumes collecting Bataille’s post-war essays. Beginning with an article on Nietzsche and fascism written shortly after the liberation of Paris and running to the end of 1948, these texts make available for the first time in English the systematic diversity of Bataille’s post-war thought. Trade Review"In this erudite volume, scholars Toscano and Noys collect the critical works of French thinker and novelist Georges Bataille (1897–1962), touching on topics including philosophy, literature, religion, geopolitics, art, and psychoanalysis." * Publishers Weekly *"Sixty years after his death, Georges Bataille remains a vexing figure in French literature and philosophy. A creator or member of endless literary and philosophical movements, from the short-lived Acéphale to surrealism, he belonged fully to none of them, not even his own, and his apparent will to destruction often risks carrying over to those who enter into dialogue with him, even today. . . . These essays invite the reader in, in a way that many of Bataille’s works do not; they also give us a glimpse of a thinker working out his position. . ." * Times Literary Supplement *Table of Contents1.Is Nietzsche Fascist?2.Is Literature Useful?3.The Will to the Impossible4.Picasso’s Political Paintings5.Miller’s Morality6.Dionysos Redivivus7.Mystical Experience and Literature8.The Indictment of Henry Miller9.Notes: Gide – Baranger – Gillet10.The Last Moment11.Gide—Nietzsche—Claudel12.Take It or Leave It13.The War in China14.Cossery – Robert Aron15.Marcel Proust and the Profaned Mother16.Adamov17.The Friendship between Man and Beast18.Giraud – Pastoureau – Benda – Du Moulin de Laplante – Govy19.On the Relationship between the Divine and Evil20.Pierre Gordon21.What Is Sex?22.A New American Novelist23.Sartre24.A Morality based on Misfortune [Malheur]: The Plague25.Letter to Merleau-Ponty26.Is Lasting Peace Inevitable?27.Joseph Conrad28.Preface to the Gaston-Louis Roux Exhibition29.Goya30.Psychoanalysis31.Tavern Drunkenness and Religion32.Political Lying33.The Sexual Revolution and the Kinsey Report 34.Jean Paulhan – Marc Bloch35.On the Meaning of Moral Neutrality in the Russo-American War36.The Divinity of Isou37.The Mischievousness of Language38.Marcel Proust

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Book SynopsisRanging from early medieval times to the present, this diverse collection explores the myriad ways in which literary texts are informed by their historical contexts. The thirty-one chapters draw on varied themes and perspectives to present stimulating new readings of both canonical and non-canonical texts and authors. Written in a lively and engaging style, by an international team of experts, these specially commissioned essays collectively represent an incisive contribution to literary studies; they will appeal to scholars, teachers and graduate and undergraduate students. The book is designed to complement Paul Poplawski's previous volume, English Literature in Context, and incorporates additional study elements designed specifically with undergraduates in mind. With an extensive chronology, a glossary of critical terms, and a study guide suggesting how students might learn from the essays in their own writing practices, this volume provides a rich and flexible resource for teachingTrade Review'An impeccable selection of wide-ranging but sharply focused texts in their historical and cultural contexts by seasoned scholars with a keen sense of the past as well as a sharp eye for essential contemporary issues such as feminism, environmentalism, immigration, and politics. The crisp and succinct essays are packed with engaging questions that suggest lively classroom discussion as well as thoughtful critical examination.' Stephen Kern, Ohio State University'Studying English Literature in Context helps ease students' transition from second- to third-level study by offering scholarly essays that are written specifically for students. This makes academic writing and argument more accessible to students coming to such material for the first time, with the further resources offering the additional benefit of helping students think more critically about what they are reading. This book offers new university students much needed support as they work towards the broader and deeper critical inquiry in which they will engage at later stages of their programme. It is likely to be widely assigned in undergraduate survey courses and much used.' Naomi McAreavey, University College Dublin'Driven by the conviction that texts are fruitfully understood within the context of their time, this enormously hospitable and adaptable book manages, without strain, to appeal both to scholars and students, to bookworms and neophytes. It covers the entire history of English literature and drama with a ease and dexterity matched only by ambition and range. The collection deploys an innovative hinged structure in which each of the thirty-one essays is supplemented by a critical reflection that allows the author to reflect upon the preceding essay he or she has just written, while also mapping the scholarly field. Pedagogically, that will afford students a critical example of how to position their own work while also informing them, without dryness, of the scholarly tradition to which they contribute. This collection is suffused with the balm of utility, clear-sightedness and practical good sense and deserves a place on reading lists wherever English literature is nurtured and cherished.' Ronan McDonald, The University of Melbourne, Australia'Studying English Literature in Context will undoubtedly advance the theory and practice of cultural materialist pedagogy in higher education. I recommend this lively and enjoyable volume as a valuable resource for teachers and students of English Literature and as an excellent anthology of scholarly essays in its own right.' Caroline Franklin, Swansea University'Studying English Literature in Context is a superb collection of essays by leading scholars that will foster stimulating response, reignite debate, and demand intellectual engagement by readers of representative texts from the long history of English. The authors recognise that from The Dream of the Rood's multivalence to Aphra Behn's colonial novel Oroonoko and Grace Nichols' feminist poetry, literature both contributes to, as well as reflects socio-cultural critique, linking past modes of creative expression with current conversations about form, textual ambiguity, literary resistance, and periodisation. In addition to this impressive set of critical interpretations, generous resources are provided to situate the student in the long chronology and complex range of generic, stylistic, material, and performative possibilities offered by literature. The whole volume works to ensure enhanced understanding of the significance of poetry, prose, and drama both to authors and creators and to audiences globally; as Poplawski anticipates, this book offers contextured readings, encouraging connections between eras, affect, and modalities to amplify the power of the written and spoken word.' Elaine Treharne, Stanford UniversityTable of ContentsIntroduction Paul Poplawski; Section I. Medieval English, 500–1500: 1. Finding the dream of the rood in old English literature Emily V. Thornbury; 2. The translator as author: The case of Geoffrey Chaucer's the Parliament of Fowls Filip Krajnik; 3. Arthurian romance as a window onto medieval life: The Case of Ywayne and Gawayne and The Awntyrs off Arthure K. S. Whetter; Section II: The renaissance, 1485–1660: 4. The renaissance in England: A meeting point Alessandra Petrina; 5. 'Mr Spencer's moral invention': The global horizons of early modern epic Jane Grogan; 6. Arden of Faversham Christa Jansohn; 7. 'A little touch of Harry in the night' – mysteries of kingship and the stage in Shakespeare's the life of king Henry the fifth Ina Habermann; 8. Poems and contexts: The case of Henry Vaughan Robert Wilcher; Section III: The restoration and eighteenth century, 1660–1780: 9. Periodising in context: The case of the restoration and eighteenth Century Lee Morrissey; 10. Truth-telling and the representation of the Surinam 'Indians' in Aphra Behn's Oroonoko Oddvar Holmesland; 11. 'The pamphlet on the table': The life and adventures of sir Launcelot Greaves Richard J. Jones; Section IV: The romantic period, 1780–1832: 12. 'Transported into asiatic scenes': Romanticism and the orient Daniel Sanjiv Roberts; 13. Historical fiction in the romantic period: Jane Porter, Walter Scott and the sublime hero Fiona Price; 14. Jane Austen and her publishers: Northanger Abbey and the publishing context of the early nineteenth century Katie Halsey; 15. 'O for a life of sensations' or 'the internal and external parts': Keats and medical materialism Paul Wright; Section V: The victorian age, 1832–1901: 16. Poetry and science in the victorian period Jordan Kistler; 17. 'In characters of tint indelible': Life writing and legacy in Charlotte Brontë's Villette Maria Frawley; 18. Money, narrative and representation from Dickens to Gissing Ben Moore; 19. Reading and remediating nineteenth-century serial fiction: Closing down and opening up Sheridan Le Fanu's Carmilla Fionnuala Dillane; 20. Public places, private spaces in Fin de Siècle British women's writing Sue Asbee; Section VI: The Twentieth Century, 1901–1939: 21. D. H. Lawrence's women in Love: An anthropological reading Stefania Michelucci; 22. The epigraph for T. S. Eliot's Marina: Classical tradition and the modern era Anna Budziak; 23. Passing as a male critic: Mary Beton's coming of age in Virginia Woolf's a room of one's own Judith Paltin; Section VII: The twentieth and twenty-first centuries, 1939–2020: 24. An ecocritical reading of the poetry of Ted Hughes Terry Gifford; 25. Women publishers in the twenty-first century: Assessing their impact on new writing – and writers Catherine Riley; 26. Crisis and community in contemporary British theatre Clare Wallace; Section VIII: Postcolonial literature in english: 27. Complexities and concealments of eros in the African novel: Chinua Achebe's things fall apart F. Fiona Moolla; 28. Bessie Head's feminism of everyday life Loretta Stec; 29. The gender politics of Grace Nichols: Joy and resistance Izabel F. O. Brandao; 30. 'The all-purpose quote': Salman Rushdie's meta-contextuality Joel Kuortti; 31. Postcolonial literature and the world, 2017–2019: Contemporary complexities Ulla Rahbek; Appendices; Appendix A: Glossary of critical terms; Appendix B: Study guide: Learning from the essays; Appendix C: Essays listed by genre and theme; Index.

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Book SynopsisDuring the middle years of Queen Elizabeth’s reign, the number of books published with titles that described themselves as flowers, gardens, or forests more than tripled. During those same years, English printers turned out scores of instructional manuals on gardening and husbandry, retailing useful knowledge to a growing class of literate landowners and pleasure gardeners. Both trends, Jessica Rosenberg shows, reflected a distinctive style of early modern plant-thinking, one that understood both plants and poems as composites of small pieces—slips or seeds to be recirculated by readers and planters. Botanical Poetics brings together studies of ecology, science, literary form, and the material text to explore how these developments transformed early modern conceptions of nature, poetic language, and the printed book. Drawing on little-studied titles in horticulture and popular print alongside poetry by Shakespeare, Spenser, and others, Rosenberg reveals how early modern print used a botanical idiom to anticipate histories of its own reading and reception, whether through replanting, uprooting, or fantasies of common property and proliferation. While our conventional narratives of English literary culture in this period see reading as an increasingly private practice, and literary production as more and more of an authorial domain, Botanical Poetics uncovers an alternate tradition: of commonplaces and common ground, of slips of herbs and poetry circulated, shared, and multiplied.

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Book SynopsisA meditation on the meaning of text–image collaboration, from the author of Sprawl and Margaret the First Author Danielle Dutton's A Picture Held Us Captive asks what it means for a writer to work "with" someone or something else—to make art in dialogue with an energy not one's own. Dutton (born 1975) explores ekphrastic fiction, looking at a wide range of writers and artists including John Keene and Edgar Degas; Eley Williams and Bridget Riley; Ben Lerner and Anna Ostoya; Amina Cain and Bill Viola; Lydia Davis and Joseph Cornell; as well as her own textual responses to visual artists Richard Kraft and Laura Letinsky. A Picture Held Us Captive—which includes a series of images at once illustrative and refusing simple illustration—considers the ways in which ekphrasis operates as a diptych. A work of both commentary and self-reflection, Dutton considers a dialectic between art’s ability to make strange what has grown familiar and the writer’s desire to make recognizable the experience of one artwork in the space of another. Danielle Dutton is an American writer and the cofounder of the feminist press Dorothy. Born in California in 1975, Dutton now resides in Missouri where she teaches creative writing at Washington University in St Louis. She has authored four books, including Sprawl and Margaret the First. She contributed the text to Here Comes Kitty: A Comic Opera, a book of collages by Richard Kraft. Her fiction has appeared in major publications such as the Paris Review, Harper's and Guernica.

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Book SynopsisA provocative, highly accessible journey to the heart of Sophocles’ Antigone elucidating why it keeps resurfacing as a central text of Western thought and Western culture. There is probably no classical text that has inspired more interpretation, critical attention, and creative response than Sophocles’ Antigone. The general perspective from which the book is written could be summarized with this simple question: What is it about the figure of Antigone that keeps haunting us? Why do all these readings and rewritings keep emerging? To what kind of always contemporary contradiction does the need, the urge to reread and reimagine Antigone—in all kinds of contexts and languages—correspond? As key anchor points of this general interrogation, three particular “obsessions” have driven the author’s thinking and writing about Antigone. First is the issue of violence. The violence in Antigone is the opposite of “graphic” as we have come to know it in movies and in the media; rather, it is sharp and piercing, it goes straight to the bone. It is the violence of language, the violence of principles, the violence of desire, the violence of subjectivity. Then there is the issue of funerary rites and their role in appeasing the specific “undeadness” that seems to be the other side of human life, its irreducible undercurrent that death alone cannot end and put to rest. This issue prompted the author to look at the relationship between language, sexuality, death, and “second death.” The third issue, which constitutes the focal point of the book, is Antigone’s statement that if it were her children or husband lying unburied out there, she would let them rot and not take it upon herself to defy the decree of the state. The author asks, how does this exclusivist, singularizing claim (she would do it only for Polyneices), which she uses to describe the “unwritten law” she follows, tally with Antigone’s universal appeal and compelling power? Attempting to answer this leads to the question of what this particular (Oedipal) family’s misfortune, of which Antigone chooses to be the guardian, shares with the general condition of humanity. Which in turn forces us to confront the seemingly self-evident question: “What is incest?” Let Them Rot is Alenka Zupančič’s absorbing and succinct guided tour of the philosophical and psychoanalytic issues arising from the Theban trilogy. Her original and surprising intervention into the broad and prominent field of study related to Sophocles’ Antigone illuminates the classical text’s ongoing relevance and invites a wide readership to become captivated by its themes.Table of ContentsPreface | vii Prologue | 1 1. Violence, Terror, and Unwritten Laws | 9 2. Death, Undeadness, and Funeral Rites | 21 3. “I’d Let Them Rot” | 50 Works Cited | 83 Index | 85

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Book SynopsisThis collection honours the scholarship of Professor David F. Johnson, exploring the wider view of medieval England and its cultural contracts with the Low Countries, and highlighting common texts, motifs, and themes across the textual traditions of Old English and later medieval romances in both English and Middle Dutch. Few scholars have contributed as much to the wider view of medieval England and its cultural contacts with the Low Countries than Professor David F. Johnson. His wide-ranging scholarship embraces both the textual traditions of Old English, especially in manuscript production, and later medieval romances in both English and Middle Dutch, highlighting their common texts, motifs, and themes. Taking Johnson's work as its starting point and model, the essays collected here investigate early English manuscript production and preservation, illuminating the complexities of reinterpreting Old English poetry, particularly Beowulf, and then go on to pursue those nuances through later English and Middle Dutch Arthurian romances and drama, including Sir Gawain and the Green Knight, The Canterbury Tales, and the Roman van Walewein. They explore a plethora of material, including early medieval textual traditions and stone sculpture, and draw on a range of approaches, such as Body and Disability Theories. Overall, the aim is to bring multiple disciplines into dialogue with each other, in order to present a richer and more nuanced view of the medieval literary past and cross-cultural contact between England and the Low Countries, from the pre-Conquest period to the late-Middle Ages, thus forming a most appropriate tribute to Professor Johnson's pioneering work.Table of ContentsList of Illustrations List of Contributors Preface Acknowledgements List of Abbreviations Introduction: Medieval English and Dutch Literature in its European Context and the Work of David F. Johnson Larissa Tracy and Geert H. M. Claassens 1. Reconstructing a Lost Manuscript of the Old English Gospels Roy M. Liuzza 2. The Reception of the Old English Version of Gregory the Great's Dialogues between the Conquest and the Close of the Nineteenth Century Rolf H. Bremmer Jr 3. An Unrecorded Copy of Heinrich Krebs's An Anglo-Saxon Version of Gregory's Dialogues, Printer's Proofs Thomas A. Bredehoft and Rachel C. S. Duke 4. The Body as Media in Early Medieval England Martin Foys 5. Who Snatched Grendel in Beowulf 852b? Stephen Harris 6. 'Mobile as Wishes': Anchoritism, Intersubjectivity, and Disability in the Liber confortatorius Danielle Allor and Stacy S. Klein 7. The Presence of the Hands: Sculpture and Script in the Eighth to Twelfth Centuries Catherine Karkov and Elaine Treharne 8. Perceval's Name and the Gifts of the Mother Thomas D. Hill 9. A Relaxed Knight and an Impatient Heroine: Ironizing the Love Quest in the Second Part of the Middle Dutch Ferguut Marjolein Hogenbirk 10. Multilingualism in Van den vos Reynaerde and its Reception in Reynardus Vulpes Bart Besamusca 11. Three Characters as Narrator in the Roman van Walewein Roel Zemel 12. As the Chess-Set Flies: Arthurian Marvels in Chaucer's Squire's Tale and the Roman van Walewein Jamie C. Fumo 13. For a Performer's Personal Use: The Corrector's Lines in the Lower Margin of the Middle Dutch Lanceloet Manuscript Frank Brandsma 14. 'Oft leudlez alone': The Isolation of the Hero and Its Consequences in Sir Gawain and the Green Knight K. S. Whetter 15. Shifting Skin: Passing as Human, Passing as Fay in Sir Gawain and the Green Knight Larissa Tracy 16. The Lover Caught Between his Mother and his Maiden in Lanseloet van Denemerken Geert H. M. Claassens 17. Afterlives: The Abbey at Amesbury and the 'Rehabilitation' of Guinevere in Malory and the Stanzaic Morte Arthur Christopher Jensen 18. The Importance of Being an Arthurian Mother Elizabeth Archibald Select Bibliography Bibliography of David F. Johnson's Works Index Tabula Gratulatoria

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Book SynopsisCrime and Punishment: A Reader’s Guide focuses on narrative strategy, psychology, and ideology. Martinsen demonstrates how Dostoevsky first plunges the reader into Raskolnikov’s fevered brain, creating sympathy for him, and she explains why most readers root for him to get away from the scene of the crime. Dostoevsky subsequently provides outsider perspectives on Raskolnikov’s thinking, effecting a conversion in reader sympathy. By examining the multiple justifications for murder Raskolnikov gives as he confesses to Sonya, Dostoevsky debunks rationality-based theories. Finally, the question of why Raskolnikov and others, including the reader, focus on the murder of the pawnbroker and forget the unintended murder of Lizaveta reveals a narrative strategy based on shame and guilt.Trade Review“In this extraordinary book, distinguished scholar Deborah Martinsen draws upon a lifetime of scholarship in Dostoevsky studies, narrative theory, and ethics, as well as decades of classroom teaching, to craft a riveting, efficient introduction to Dostoevsky’s great novel. Accessible, insightful, deceptively slight in size, A Reader’s Guide will offer something new to readers at all stages of their Dostoevsky journey: seasoned experts, teachers, students, and curious newcomers. … A great teacher and scholar lives on in the ideas [Martinsen] shares, the conversations she inspires, and the example she sets. From this book we learn fresh, bracing new ways of reading a text that we may have mistakenly thought that we fully understood. More importantly, we are inspired by this communication from an intellectual at the top of her game and by the guidance it offers as we seek to live ethical lives in our own thinking, writing and teaching.”— Carol Apollonio, Dostoevsky Studies (2022: Vol. 25)“Deborah Martinsen’s Dostoevsky’s Crime and Punishment: A Reader’s Guide is a slim but erudite volume for readers and teachers of the 1866 novel. Martinsen synthesizes here the wisdom and experience of decades reading, discussing, analyzing, and teaching the novel… Her insights on characterization, emotion, and the subconscious are carefully and thoughtfully embedded in her analysis of Crime and Punishment. Rather than allowing that analysis to provide all the answers, however, she focuses on the questions that it raises. This gives Dostoevsky’s reader, using the Guide, agency in their path through the text. … Martinsen, a brilliant editor and interlocutor who brought Dostoevsky scholars together in conversation, has brought these connections to bear throughout the Guide, in mentions of others’ work in the text, the work’s careful footnotes, her overview of contemporary scholarship, and, finally, its considered bibliography. Dostoevsky’s Crime and Punishment: A Reader’s Guide is a project Martinsen saw to completion during the final months of her life and it is truly a gift for all teachers and readers of Dostoevsky’s novel.”— Katherine Bowers, University of British Columbia, Russian Review (October 2022: Vol. 81, No. 4)“The complexity of Dostoevsky’s writing is… explored in a readable and rigorous manner in Deborah Martinsen’s Dostoevsky’s Crime and Punishment: A Reader’s Guide. Martinsen’s book follows the plot of Crime and Punishment, revealing the themes and issues explored, the multiple echoes throughout the novel and the various perspectives open to the characters. … Martinsen’s precise analysis deftly avoids any suggestion of a simplistic resolution to the novel’s complexity.”— Llewellyn Brown, Forum for Modern Language Studies“A posthumous release by one of this generation’s foremost experts on Fedor Dostoevskii, Dostoevsky’s ‘Crime and Punishment’: A Reader’s Guide by Deborah Martinsen is every bit as erudite as its author…Surprisingly, before this volume, there had been no comprehensive reader’s guide to Crime and Punishment, save for readings and analyses that appear as parts of larger works. An exquisite resource and teaching aid, every page of this guide is packed with detailed analysis, citing major research to date. It is written for general readers but also provides tips and suggestions for teaching the novel. The information presented is for the most part known to researchers, yet even the most seasoned reader of Dostoevskii will find the guide useful, whether as a refresher course or convenient reference tool.”— Lonny Harrison, Slavic ReviewTable of ContentsAcknowledgmentsIntroduction1. Historical Introduction2. Overview3. Parts One and Two: Getting Away with Murder4. Parts Three to Five: In and Out of Raskolnikov’s Mind5. Part Six: Last Meetings and EpilogueAppendix 1: Illustrations and MapsAppendix 2: Crime and Punishment ChronologyAppendix 3: Contemporary Critical ReactionsAppendix 4: Chronology of Dostoevsky’s Life Bibliography

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Book SynopsisWomen and Music in the Age of Austen highlights the central role women played in musical performance, composition, reception, and representation, and analyzes its formative and lasting effect on Georgian culture. This interdisciplinary collection of essays from musicology, literary studies, and gender studies challenges the conventional historical categories that marginalize women’s experience from Austen’s time. Contesting the distinctions between professional and amateur musicians, public and domestic sites of musical production, and performers and composers of music, the contributors reveal how women’s widespread involvement in the Georgian musical scene allowed for self-expression, artistic influence, and access to communities that transcended the boundaries of gender, class, and nationality. This volume’s breadth of focus advances our understanding of a period that witnessed a musical flourishing, much of it animated by female hands and voices. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades.” -- Angela Esterhammer * author of Print and Performance in the 1820s: Improvisation, Speculation, Identity *“Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane.” -- Maribeth Clark * coeditor of Musicology and Dance: Historical and Critical Perspectives *“Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen’s fiction and her age in many original and surprising ways.” -- Peter Sabor * coeditor of Jane Austen's Manuscript Works *Table of ContentsIllustrations Table Acknowledgements Abbreviations Introduction: “It was all in harmony”: Musical Women in Austen’s Culture Linda Zionkowski with Miriam F. Hart Part I: Representing the Female Performer Chapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen’s Novels Pierre Dubois Chapter 2: “Prima la musica”: Gentry Daughters at Play in Town, Country, and Continent, 1815-1825 Kelly M. McDonald Chapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse’s The School for Fashion and Burney’s The Wanderer Danielle Grover Part II: Women and the Market in Music Chapter 4: Women on the Title Page: Celebrity Endorsement of Musical Scores Penelope Cave Chapter 5: The Lady’s Choice: Women and the Purchase of Music through Subscription Simon D. I. Fleming Chapter 6: Female Musical Entrepreneurship in the Eighteenth Century Alison C. DeSimone Part III: Women as Critics and Fans Chapter 7: Women as Quiet Critics Jane Girdham Chapter 8: Femininity and Foreignness in George Colman’s Farce, The Musical Lady Leslie Ritchie Chapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century London Jeffrey A. Nigro Part IV: Women and the Bardic Tradition Chapter 10: Anna Gordon and the Ballad Collectors Ruth Perry Chapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic Tradition Devon R. Nelson Part V: Revisiting the Age of Austen Chapter 12: “That Ecstatic Delight”: Gender and Performance in Adaptations of Sense and Sensibility Gayle Magee Chapter 13: “Here’s harmony!”: Music and Gender in Kirke Mechem’s Pride & Prejudice (2019) and Jonathan Dove’s Mansfield Park (2011) Juliette Wells Bibliography Notes on Contributors Index

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Book SynopsisWithin the library of the world''s classics, the book of Psalms occupies a unique place. Few books were composed over a longer period of time and have exercised more cultural and religious influence than the Psalms, the longest and most complex collection in the Hebrew Bible. Nearly 1,000 years in the making with dozens of contributors, this ancient anthology includes 150 prayers and poems for a host of public occasions and private exigencies, ranging from the comforting passage Though I walk through the valley of the shadow of death, Ps 23:4 to some of the most violent imprecations, such as Break their teeth, O God, in their mouth, Ps 58:6). The Psalms is an introduction to the world of the Psalms that focuses on the content and the poetic forms in the collection, guiding the reader toward an appreciation of the purposes of the Psalms and their contribution to the Scriptures of Israel. Rather than abstract theorizing, Keith Bodner offers close readings of numerous psalms, exploring th

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Book SynopsisAcclaimed critic Sianne Ngai theorizes the gimmick as an aesthetic category reflecting the fundamental laws of capitalism. Gimmicks make promises of saving labor and increasing value that we distrust but also find attractive. Exploring the use of this form, Ngai shows how its aesthetic dissatisfactions reflect deeper anxieties about capitalism.Trade ReviewA culmination of Ngai’s work as a critic…Ngai makes the case that the gimmick, whose value we regularly disparage, is of tremendous critical value. The gimmick, she contends, is the capitalist form par excellence…Ngai’s study lies somewhere between critical theory and Sontag’s best work. -- Andrew Koenig * Los Angeles Review of Books *One of the most creative humanities scholars working today…Ngai sets off on another mind-blowing exploration, this time drawing a line between our own judgements of productivity, as well as considering what entertainment is worth to us. My god, it’s so good. -- Olivia Rutigliano * Literary Hub *Theory of the Gimmick is a masterpiece—a culmination of the dazzling project begun in Sianne Ngai’s Ugly Feelings and elaborated in Our Aesthetic Categories, both celebrated books that have anchored affect theory to a strong account of tone and form. It is a major advance in aesthetic theory, and Marxist theory in particular, one that could help us all get over our Frankfurt melancholy and down to the garrulous work of actually naming the dynamics that produce art and artistic judgment under capitalism. -- Christopher Nealon, author of The Matter of CapitalThe gimmick draws out our unease about capitalism’s seductions, deflating their lofty appeals with the suddenness of a punch line. It is an aesthetic category that dunks on capitalism’s too-good-to-be-true promises by dunking on itself…It is undeniable that part of what makes Ngai’s analyses of aesthetic categories so appealing—so appealing as to even appear to raise the esteem of the object under analysis—is simply her capacity to speak about them brilliantly. -- Jane Hu * Bookforum *In its extraordinary analysis of the gimmick as a compromised expression of what Walter Benjamin or Fredric Jameson have labeled the age of “late capitalism,” Ngai’s book—much like her previous book publications—is a stellar critique and rethinking of Continental aesthetic theory. …Ngai’s work will not and must not be bypassed by future theories of aesthetics and consumer capitalism, not least in American studies. -- Dustin Breitenwischer * Amerikastudien *Ngai exposes capitalism’s tricks in her mind-blowing study of the time- and labor-saving devices we call gimmicks. -- Katrina Forrester * New Statesman *Ngai tracks the gimmick through a number of guises: stage props, wigs, stainless-steel banana slicers, temp agencies, fraudulent photographs, subprime loans, technological doodads, the novel of ideas…[She] has slowly been building a reputation as one of America’s most original and penetrating cultural theorists. -- Charlie Tyson * Chronicle of Higher Education *Ngai is a keen analyst of overlooked or denigrated categories in art and life…Moves quickly from the fantastical contraptions of Rube Goldberg to the philosophical machinery in Kant or Marx that might explain their appeal…Highly original in theme and suggestive in approach. -- Brian Dillon * 4Columns *Ngai has done so much to illuminate. -- David Trotter * London Review of Books *Ngai’s penetrating and at times humorous work feels uncommonly generous at a deeply polarized moment when emotions run high and much theory and criticism has taken on an increasingly grave, moralizing tone…Explores across a remarkably broad range of works of art, film, and literature the ‘gimmick,’ a simultaneously attractive and repulsive form that links the aesthetic to the economic. -- Matthew Rana * Kunstkritikk *It is the simplicity and vernacular quality of Sianne Ngai’s central concept that elevates this book to a classic in the making. Ngai’s most important contribution to Marxist cultural and economic theory comes from her insight that—like the judgment of the beautiful for Kant—the gimmick is a subjective category, neither cognitive nor ethical, but historical through and through. The gimmick is a way to bring together the theory of the commodity with Kant’s category of judgment. Through Ngai, we are able to vernacularize Marx and to understand the most basic but enigmatic proposition: that truth and appearance are identical in the commodity. -- Timothy Bewes, author of Reification: Or, The Anxiety of Late CapitalismBooks of this ambition and accomplishment are rare! Theory of the Gimmick continues the work of Walter Benjamin, Theodor Adorno, and others in seriously putting together aesthetic theory and Marxist theories of capital. In an impossibly erudite, wide-ranging, and theoretically sophisticated argument, Ngai gives us a unique insight into the relationship between labor, time, and value in a capitalist economy. This book is a major event in American intellectual life. -- Jonathan Flatley, author of Affective Mapping: Melancholia and the Politics of ModernismThe whole book suggests that critique is an occasion for delight, as the explication of how the gimmicks Ngai finds everywhere from Henry James to a toy box reveal the inner workings of capital is accomplished with a joyful relentlessness. The book is a page turner. -- Theo Davis * American Literary History *[A] groundbreaking argument. * Choice *[Theory of the Gimmick] firstly offers an eminently usable theory of the gimmick, and secondly offers a series of masterful extensions of that theory in practically unrepeatable analyses of texts…where we witness, in addition to Ngai the theorist, Ngai the virtually peerless reader. -- Astrid Lorange * Sydney Review of Books *

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Book SynopsisNigel of Canterbury's Miracles of the Virgin, the oldest Latin poem about miracles performed by Mary, features lively tales illustrating her boundless mercy. Tract on Abuses rails against ecclesiastical corruption. Alongside authoritative editions of the Latin texts, this volume offers the first translations of both works into English.Trade ReviewOffer[s] a fascinating amalgam of devotion, imagination, and wonder…Ziolkowski is to be congratulated for his skillful and meticulous work in bringing these little-known works to a contemporary readership. There is no doubt that many of today’s monastic readers will find these Marian miracles as fascinating and enchanting as did their medieval counterparts. -- Robert Nixon, O.S.B. * American Benedictine Review *

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Book SynopsisSpectacles and Specters draws on theories of performativity to conceptualize the entanglements of law and political violence, offering a radical departure from accounts that consider political trials as instrumental in exercising or containing political violence. Legal scholar Başak Ertür argues instead that making sense of the often incalculable interpenetrations of law, politics, and violence in trials requires shifting the focus away from law’s instrumentality to its performativity. Ertür develops a theory of political trials by reconstructing and building on a legacy of critical thought on Nuremberg in close engagement with theories of performativity. She then offers original case studies that introduce a new perspective by looking beyond the Holocaust trials, to the Armenian genocide and its fragmentary legal aftermaths. These cases include the 1921 trial of Soghomon Tehlirian, the 2007-21 Hrant Dink Murder Trial, and the 2015 case before the European Court of Human Rights concerning the denial of the Armenian genocide. Enabling us to capture the various modalities in which the political emerges in, through and in relation to legal forms on the stage of the trial, this focus on law’s performativity also allows us to account for how sovereign schemes can misfire and how trials can come to have unintended political lives and afterlives. Further, it reveals how law is entangled with and perpetuates certain histories of violence, rather than simply ever mastering these histories or providing closure.Table of ContentsPreface | ix Introduction | 1 Performativity and Performance • Performativity and Errancy • Rethinking the Politics of Trials • Law and Violence: An Oblique Address PART I: A PERFORMATIVE THEORY OF POLITICAL TRIALS 1 Theorizing Political Trials | 21 Kirchheimer: Setting the Parameters • Judgment on Nuremberg • Arendt: A Trial of One’s Own? • The Breach That Speaks the Bind • Shklar: “There’s Politics and Politics” • Between Atrocity and Legal Violence 2 The Form and Substance of Doing Justice: Law, Performativity, Performance | 52 Not a Profound Word • Law and Performativity • Masquerade and Fate • The Trial: Performativity and Performance 3 Sovereign Infelicities | 76 Three Scenes • Sovereign Spectacles • Sovereign Performatives? • (Mis)Reading the Performative as Performance • Derrida’s Austin: Sovereign Pretensions • Performing the (Structural) Unconscious • Undoing Sovereignty PART II: TRACING THE SPECTERS IN THE SPECTACLES 4 Ghosts in the Courtroom: The Trial of Soghomon Tehlirian | 103 Talat • Tehlirian • Enter Ghost • The Telegrams • The Haunted Hunter • The Many Lives of Tehlirian • The Politics of Haunting 5 Spectral Legacies: Legal Aftermaths of the Armenian Genocide | 131 Legal Returns • Atemporal Histories of Terror • Process unto Oblivion • “Genocide” as Counter-Memory 6 Law of Denial: The Armenian Genocide before the European Court of Human Rights | 156 The Envoy • The Judge, The Historian, and the Politician • Judging the Presence of the Past Conclusion | 175 Acknowledgments | 187 Notes | 191 Index | 223

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Book SynopsisTrade Review“In this bravura study of Dante’s material culture, social inclusion and exclusion, philosophical heterodoxy, and problematic thinking, one size does not fit all. Barolini’s painstaking philological analyses show that Dante’s competing claims disrupt the tyranny of extreme conclusions. Their lesson is at once nonnormative and supportive of productive difference.” —William J. Kennedy, author of Petrarchism at Work"Teodolinda Barolini’s Dante’s Multitudes is a must-read for any student of literary criticism who is learning to apply historicist ideology to the literary pillars of our civilization." —VoegelinViewTable of ContentsNote on Editions and Translations Preface Part I. Social and Cultural Difference 1. “Only Historicize”: History, Material Culture (Food, Clothes, Books), and the Future of Dante Studies 2. Dante’s Sympathy for the Other, or the Non-Stereotyping Imagination: Sexual and Racialized Others in the Commedia 3. Contemporaries Who Found Heterodoxy in Dante: Cecco d’Ascoli, Boccaccio, and Benvenuto da Imola on Fortuna and Inferno 7.89 4. Dante’s Limbo and Equity of Access: Non-Christians, Children, and Criteria of Inclusion and Exclusion, from Inferno 4 to Paradiso 32 Part II. Metaphysical Difference 5. Toward a Dantean Theology of Eros: From Dante’s Lyrics to the Paradiso 6. Amicus eius: Dante and the Semantics of Friendship 7. Paradiso and the Mimesis of Ideas: Realism versus Reality 8. Dante Squares the Circle: Textual and Philosophical Affinities of Monarchia and Paradiso (Solutio Distinctiva in Mon. 3.4.17 and Par. 4.94–114) 9. Difference as Punishment or Difference as Pleasure: From the Tower of Babel in De vulgari eloquentia to the Death of Babel in Paradiso 26 Part III. Aristotelian Disruptions 1: Wealth and Society 10. Aristotle’s Mezzo, Courtly Misura, and Dante’s Canzone Le dolci rime: Humanism, Ethics, and Social Anxiety 11. Dante and Wealth, Between Aristotle and Cortesia: From the Moral Canzoni Le dolci rime and Poscia ch’Amor through Convivio to Inferno 6 and 7 Part IV. Aristotelian Disruptions 2: Love and Compulsion 12. Archeology of the Donna Gentile: The Importance of Disconversion in Conversion Narratives 13. Dante and Cecco d’Ascoli on Love and Compulsion: The Epistle to Cino, Io sono stato, the Third Heaven 14. Voi che ’ntendendo il terzo ciel movete, A Dramatization of “utrum de passione in passionem possit anima transformari”: Conflict, Compulsion, Consent, Conversion Part V. Critical Philology and Italian Cultural History 15. The Case of the Lost Original Ending of Dante’s Vita Nuova: More Notes Toward a Critical Philology 16. Critical Philology and Dante’s Rime

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Book SynopsisWinner Gish Prize for Lifetime AchievementA representative collection of the life work of the much-honored poet and a founder of the Black Arts movement, spanning the 4 decades of her literary career.Gathering highlights from all of Sonia Sanchez’s poetry, this compilation is sure to inspire love and community engagement among her legions of fans. Beginning with her earliest work, including poems from her first volume, Homecoming (1969), through to 2019, the poet has collected her favorite work in all forms of verse, from Haiku to excerpts from book-length narratives. Her lifelong dedication to the causes of Black liberation, social equality, and women’s rights is evident throughout, as is her special attention to youth in poems addressed to children and young adults.As Maya Angelou so aptly put it: “Sonia Sanchez is a lion in literature’s forest. When she writes she roars, and when she sleeps other creatures walk gingerly.&

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Book SynopsisThis book provides the first sustained study of women's literary representations of death and the culture of war commemoration that underlies British and American literary modernism.

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Book SynopsisUsman Khan was convicted of terrorism-related offences at age 20, and sent to high-security prison. He was released eight years later, and allowed to travel to London for one day, to attend an event marking the fifth anniversary of a prison education programme he participated in. On 29 November, 2019, he sat with others at Fishmongers' Hall, some of whom he knew. Then he went to the bathroom to retrieve the things he had hidden there: a fake bomb vest and two knives, which he taped to his wrists. That day, he killed two people: Saskia Jones and Jack Merritt. Preti Taneja taught fiction writing in prison for three years. Merritt oversaw her program; Khan was one of her students. 'It is the immediate aftermath,' Taneja writes. '"I am living at the centre of a wound still fresh." The I is not only mine. It belongs to many.' In this searching lament by the award-winning author of We That Are Young, Taneja interrogates the language of terror, trauma and grief; the fictions we believe and the voices we exclude. Contending with the pain of unspeakable loss set against public tragedy, she draws on history, memory, and powerful poetic predecessors to reckon with the systemic nature of atrocity. Blurring genre and form, Aftermath is a profound attempt to regain trust after violence and to recapture a politics of hope through a determined dream of abolition.Trade Review'Aftermath is a major landmark in British narrative non-fiction. It's a beautiful and profoundly important account of creative writing teaching as a radical act of trust and interrogation of power; its anti-racist and abolitionist stance makes it a vitally important as well as deeply moving book to read now in these dismal days for the British political project. It is fearless in the way it shows its agonised workings as it unfolds into a complex map of grief.' Max Porter ---- 'Astonishing. Radical, beautiful, broken, intimate. A surge. A yearning. A tribute. An indictment. You won't read another book like this ever. Taneja's attempt to wrestle with so much, with radical empathy, survivor's guilt, politics - is a masterclass work of literary brilliance.' Nikesh Shukla ---- 'It takes a rare talent to respond to a shattering act of violence by reassembling the pieces in a way that refuses easy explanations or platitudes, but is illuminating, daring, world-expanding. Essential, in the truest sense of the word.' Daniel Trilling ---- 'This is a remarkable book: generous, searching, insightful and searingly intelligent as it draws out the complex relationship between writing and terror, language and the unspeakable, trauma and event.' Olivia Sudjic ---- 'Aftermath is written from the heart. I am both impressed by it and so grateful that someone has tried to make some sense of the many issues surrounding what happened at Fishmongers' Hall. There is so much truth in this slim volume.' David Merritt, father of Jack Merritt ---- 'Aftermath is a book that's almost impossible to categorise: it sits in a tradition of bereavement literature; it sits with poetry. There is no fake moralising in its pages, just Taneja patiently walking us through the wreckage of unimaginable grief, noticing everything, lifting up the rubble, she makes us question everything we know and hold fast - a courageous and brilliant book.' Mona Arshi ---- 'A study, a song, a calling - Taneja's work offers a crucial and radical account of control, conviction, complicity and trauma.' Eley Williams ---- 'Aftermath is not just a personal reckoning with tragedy, it's a piercing inquiry into the ways criminality is perceived, and yet what Taneja does so skilfully is carefully unpack the complex systems violence emerges from. This is an inspired book fortified with acute contemplation and courage, a book born out of a love for the world and the people in it.' Anthony Anaxagorou ---- 'Aftermath is one of the most profound, urgent and thought-provoking books I've read in years. Taneja makes of the already capacious creative non-fiction form one that is all her own, and which enquires, with devastating and poetic precision, into the connections between language, violence, structural racism, the purposes of reading and writing fiction, and so much more. She invites the reader to share in her enquiry to narrate the unnarratable, and, through doing so, to locate a genuinely radical form of hope.' Clare Fisher ---- 'In this stunning book, light bleeds into darkness. An astute indictment of our carceral system and the violence it perpetuates, it is also a compassionate meditation on our interconnected lives. Taneja blurs the lines between literary genres so that the divisions between 'us' and 'them' also blur. She invites us to grieve and yet still be angry enough to demand change - to ask deep structural questions and to imagine new possibilities for justice. I was challenged, inspired and grateful for every word.' Tessa McWatt ---- 'This searing abolitionist work sees, and refuses, other prisons too - of narrative-for-hire, racial shame, the trauma industrial complex, cause and effect. It tries to convince no one of nothing, to confess nothing to no one. Instead it breaks sentences and pages open, makes language rush into you (you are an estuary, the dam is gone). Its shape is unmappable. It lives on as a drumming in your head.' Maria Tumarkin ---- 'A tremendous feat of scholarship, of historical interlacing, of contemporary criticism, of literary examination, of ethical clarity and personal interrogation and, most indelibly, of grieving.' Gina Apostol ---- 'With We That Are Young, Preti Taneja established herself as one of the most courageous and lyrically gifted writers of her generation. Here again she offers living proof that great literature does not rise fully formed from the canon. It begins, rather, with the anguished sifting of its fragments in the aftermath of tragedy, and a grasping in the dark for voices worthy of trust, until its urgent call for equality and dignity comes true - first on the page, and then in the hearts and minds of all who read it.' Maureen Freely

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Book SynopsisContaining forty-eight chapters, The Routledge Companion to Picturebooks is the ultimate guide to picturebooks. It contains a detailed introduction, surveying the history and development of the field and emphasizing the international and cultural diversity of picturebooks. Divided into five key parts, this volume covers: Concepts and topics â from hybridity and ideology to metafiction and emotions; Genres â from baby books through to picturebooks for adults; Interfaces â their relations to other forms such as comics and visual media; Domains and theoretical approaches, including developmental psychology and cognitive studies; Adaptations. With ground-breaking contributions from leading and emerging scholars alike, this comprehensive volume is one of theTrade Review"The articles in the companion are indeed carefully anchored in compelling picturebook material, and each chapter offers a volu-minous list of references, which makes the volume perfect for teach-ing purposes. The generous lists of references also provide excellent sources for further research. It is evident that this well-written and pedagogical companion will inspire new studies and help diversify this manifold, complex and growing field of research further."- Mia Österlund, Åbo Akademi University, BarnbokenTable of Contents Introduction: Picturebook Research Comes of Age Bettina Kümmerling-MeibauerPART I: Concepts and Topics1. Author-Illustrator Kerry Mallan 2. Picture-Text-Relationships in Picturebooks Nathalie op de Beeck 3. Layout of Picturebooks Megan Lambert 4. Paratexts in Picturebooks Sylvia Pantaleo5. Montage and Collage in Picturebooks Elina Druker 6. Materiality in Picturebooks Ilgim Veryeri Alaca7. Picturebooks and Metafiction Cecilia Silva-Díaz 8. Hybridity in Picturebooks Helma van Lierop-Debrauwer 9. Interpictoriality in Picturebooks Beatriz Hoster Cabo, Maria José Lobato Suero, and Alberto Manuel Ruiz Campos 10. Seriality in Picturebooks Bettina Kümmerling-Meibauer 11. Emotions in Picturebooks Maria Nikolajeva 12. Picturebooks and Gender Karen Coats 13. Canon Processes and Picturebooks Erica Hateley 14. Picturebooks and Ideology John Stephens PART II: Picturebook Categories15. Early Concept Books and Concept Books Bettina Kümmerling-Meibauer and Jörg Meibauer 16. Wimmelbooks Cornelia Rémi 17. ABC Books Marie-Pierre Litaudon18. Pop Up and Movable Books Ann Montanaro Staples 19. Wordless Picturebooks Emma Bosch 20. Postmodern Picturebooks Cherie Allan 21. Crossover Picturebooks Sandra Beckett 22. Picturebooks for Adults Åse Marie Ommundsen 23. Informational Picturebooks Nikola von Merveldt24. Poetry in Picturebooks Donelle Ruwe 25. Multilingual Picturebooks Nancy Hadaway and Terrell Young 26. Digital Picturebooks Maria Nikolajeva and Ghada Al-Yaquot PART III: Interfaces27. Picturebooks and Illustrated Books Elizabeth Bird and Junko Yokota 28. Artists’ Books and Picturebooks Johanna Drucker 29. Picturebooks and Photography Jane Wattenberg 30. Picturebooks and Comics Lara Saguisag 31. Picturebooks and Movies Tobias Kurwinkel PART IV: Domains32. The Education of a Picturebook-Maker Martin Salisbury33. Research in Picturebooks: The Wider Path William Moebius 34. Picturebooks and Representations of Childhood Nina Christensen 35. Picturebooks and Literacy Studies Evelyn Arizpe, Jennifer Farrar, and Julie McAdam36. Picturebooks and Developmental Psychology Elaine Reese and Jessica Johnston37. Picturebooks and Cognitive Studies Bettina Kümmerling-Meibauer and Jörg Meibauer 38. Picturebooks and Linguistics Eva Gressnich 39. Picturebooks and Narratology Smiljana Narancic Kovac 40. Multimodal Analysis of Picturebooks Clare Painter 41. Art History and the Picturebook Marilynn Olson 42. Picture Theory and Picturebooks Lukas Wilde and Nikolas Potysch 43. Picturebooks and Media StudiesMargaret Mackey 44. Picturebooks and Translation Riitta Oittinen PART V: Adaptations and Remediation45. Picturebooks as Adaptations of Fairy Tales Vanessa Joosen 46. Picturebooks as Adaptations of World Literature Marlene Zöhrer 47. Film Versions of Picturebooks Johanna Tydecks 48. Picturebooks, Merchandising, and Franchising Naomi Hamer

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Book SynopsisEvery day from nine to five I sit at my desk facing the door of the office and type up other people's dreamsAn office assistant in a hospital pursues a secret vocation. A girl endures a series of initiation ceremonies to join her high school sorority. A married woman seeks relief from the dull realities of daily life. From her mid-teens Sylvia Plath wrote stories, twenty-four of which are collected here, along with works of journalism and extracts from her journal. All the pieces presented here are revealing . . . It ought to round out one's knowledge of the writer, and, perhaps, offer some surprises. Luckily it does both.' Margaret Atwood, New York TimesA beautiful, delicate, commanding poet.' Lena DunhamShe embodied a seismic shift in consciousness which enabled us to feel and think as we do today, and of which she was a supremely vulnerable and willing casualty. She changed our world.' Margaret Drabble, Guardian

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Book Synopsis'Playwright David Ireland challenges people to draw lines between what they find funny and what they find outrageous' (Sydney Morning Herald) This first collection of plays by David Ireland brings together three of his most successful hits that have enjoyed numerous productions around the world alongside two previously unpublished plays: Half a Glass of Water: 'The dialogue is brutal and tender, horrific and humorous ... this is a tough, challenging work, undercut by Ireland's trademark black humour, which asks questions of what a successful post-conflict society looks like.' (Independent) The End of Hope: 'A freewheeling, majestically entertaining, all-too-brief hour that touches on everything from religion and identity to body dysmorphia' (Times) Cyprus Avenue: 'The most shocking play on the London stage ... a blackly comic examination of sectarian hatred and a subversive drama that has never been more relevant' (Gu

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Book SynopsisExploring the confluence of ancient Chinese spirituality and modern Western environmental thought, Wild Mind, Wild Earth reveals the unrecognized kinship of mind and nature that must be reanimated if we are to end our destruction of the planet.Earth is embroiled in its sixth major extinction event—this time caused not by asteroids or volcanos, but by us. At bottom, preventing this sixth extinction is a spiritual/philosophical problem, for it is the assumptions defining us and our relation to earth that are driving the devastation. Those assumptions insist on a fundamental separation of human and earth that devalues earth and enables our exploitative relation to it.In Wild Mind, Wild Earth, David Hinton explores modes of seeing and being that could save the planet by reestablishing a deep kinship between human and earth: the insights of primal cultures and the Ch’an (Zen) Buddhism of ancient China. He also shows how these insights have become well-established in the West over the last two hundred years, through the work of poets and philosophers and scientists. This offers marvelous hope and beauty—but like so many of us, Hinton recognizes the sixth extinction is now an inexorable and perhaps unstoppable tragedy. And he reveals how those primal/Zen insights enable us to inhabit even the unfurling catastrophe as a profound kind of liberation. Wild Mind, Wild Earth is a remarkable and revitalizing journey.

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Book Synopsis** Chosen as a New Statesman, Financial Times, Observer and Sunday Times Book of the Year **A riveting account of the making of T. S. Eliot's celebrated poem The Waste Land on its centenary.A rattling good story' Sunday TelegraphA work of art' Times Literary SupplementThe Waste Land has been called the World's Greatest Poem'. It is said to describe the moral decay of a world after war, to find meaning in a meaningless era. It has been labelled the most truthful poem of its time; it has been branded a masterful fake. A century after its publication in 1922, T. S. Eliot's enigmatic masterpiece remains one of the most influential works ever written, and yet one of the most mysterious.In a remarkable feat of biography, Matthew Hollis reconstructs the intellectual creation of the poem and brings the material reality of its charged times vividly to life. Presentin

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Book SynopsisA handful of fragments is all that remains of the writings of Menippus, the third-century BCE provocateur of the Greek Cynic movement. The Western literary tradition knows him through Lucian, the Greek satirist who lived and worked four hundred years later. Included in this book are Joel Relihan’s lively English translations of Lucian’s three reanimations of Menippus—fantastic narratives and comic dialogues set in heaven and hell: Menippus; or, The Consultation of the Corpses Icaromenippus; or, A Man above the Clouds The Colloquies of the Corpses (Dialogues of the Dead) For the first time in over fifty years, these works are assembled in a unified format to tell a particular story: Lucian’s evolving understanding of the philosophical and literary potential of the person, productions, and purposes of Menippus. Not only is it time to give Lucian’s Menippus a fresh look and a thorough reevaluation, but also to consider how Lucian’s imitations and innovations adumbrate, illuminate, and complicate the history of that enigmatic genre, Menippean satire.Trade Review“Professor Relihan’s translations of Lucian’s Menippus works are the best I know of in English. The notes, Introduction, and Afterword are models of concision and clarity. This volume will be enormously useful to anyone interested in Lucian, Menippus, or ‘Menippean satire’.” —R. Bracht Branham, Emory University

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Book SynopsisAn exquisite, lovingly crafted meditation on plants, trees, and our place in the natural worldTrade Review“With . . . tender attentiveness to the non-human, [this] narrative speaks of more compassionate and resilient modes of existence than those devised by the perennially agitated makers of history.”—Pankaj Mishra, The Guardian, “Summer Reading”“Sumana Roy has written—grown—a radiant and wondrous book, which roots and branches in complex, provocative ways, helping us recognize trees for the ‘strange strangers’ they are, companion-citizens with which we think and remember, yes, but also alien beings that draw love, hate, indifference, and even lust from us humans.”—Robert Macfarlane, author of The Old Ways: A Journey on Foot“This is one of the most original, delightful, inspiring books I have read in a long time. It will enchant and move the reader with its unique imaginative mindset, its humorous touches, and its defiance of convention.”—Mary Evelyn Tucker, Yale University“A poetic, probing meditation on how trees are, to paraphrase Lévi-Strauss, ‘good to think with.’ Sumana Roy gives us a fresh and surprising look at a topic as old as the Epic of Gilgamesh, or to put it another way, almost as old as the oldest living trees.”—Robert Moor, bestselling author of On Trails: An Exploration“A genuinely exceptional work that is as poetic as it is scholarly—quirky, enlightening and enriching.”—Chandak Sengoopta, Birbeck College, University of LondonPraise for Sumana Roy: “A one-of-its-kind meditation. . . . Deliciously engaging.”—Supriya Sharma, Hindustan Times “Sumana Roy’s writing brims with rare originality.”—Areeb Ahmad, The Medley “An ode to all that is unnoticed, ill, neglected and yet resilient. . . . Roy’s true spiritual ancestor . . . is Annie Dillard. . . . Both Roy and Dillard craft remarkable, poignant sentences. Both have the ability to make mundane situations lead up to profound, even apocalyptic consequences.”—Rini Barman, Wire India “Sumana Roy’s book shimmers like silver poplar leaves.”—Sylvia Straube, Frankfurter Rundschau “A book like a jungle: from the wide sky to sticky leaves and unsightly thorns, everything is included.”—Susanne Billig, Deutschlandfunk Kultur

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Book SynopsisHow are modernity, coloniality, and interimperiality entangled? Bridging the humanities and social sciences, Anca Parvulescu and Manuela Boatca provide innovative decolonial perspectives that aim to creolize modernity and the modern world-system. Historical Transylvania, at the intersection of the Habsburg Empire, the Ottoman Empire, Austria-Hungary, and Russia, offers the platform for their multi-level reading of the main themes in Liviu Rebreanu''s 1920 novel Ion. Topics range from the question of the region''s capitalist integration to antisemitism and the enslavement of Roma to multilingualism, gender relations, and religion. Creolizing the Modern develops a comparative method for engaging with areas of the world that have inherited multiple, conflicting imperial and anti-imperial histories.Trade ReviewCreolizing the Modern delivers. This book's crowning achievement is its insertion of East Central Europe, with all its particularities, in the historical development of capitalist modernity. [U]nraveling the threads of its predicament can teach us much about our world. Creolizing the Modern does precisely so. * Miloš Jovanović, Journal of World-Systems Research *Creolizing the Modern is one of the most important books published in the last years. It is an outstanding book that deserves to be read and discussed widely. * José Itzigsohn, Journal of World-Systems Research *Table of ContentsIntroduction 1. The Face of Land: Peasants, Property and the Land Question 2. Transylvania in the World-System: Capitalist Integration, Peripheralization, Antisemitism 3. The longue durée of Enslavement: Extracting Labor from Romani Music 4. (Dis)Counting Languages: Transylvanian Interglotism between Hugo Meltzl and Liviu Rebreanu 5. The Inter-imperial Dowry Plot: Nationalism, Women's Labor, Violence against Women 6. Feminist Whims: Women's Education in an Inter-imperial Framework 7. God Is the New Church: The Ethnicization of Religion

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Book SynopsisBringing to the fore the voices of Maya authors and what their poetry tells us about resistance, sovereignty, trauma, and regeneration In 1954, Guatemala suffered a coup d’etat, resulting in a decades-long civil war. During this period, Indigenous Mayans were subject to displacement, disappearance, and extrajudicial killing. Within the context of the armed conflict and the postwar period in Guatemala, K’iche’ Maya scholar Emil’ Keme identifies three historical phases of Indigenous Maya literary insurgency in which Maya authors use poetry to dignify their distinct cultural, political, gender, sexual, and linguistic identities.Le Maya Q’atzij / Our Maya Word employs Indigenous and decolonial theoretical frameworks to critically analyze poetic works written by ten contemporary Maya writers from five different Maya nations in Iximulew/Guatemala. Similar to other Maya authors throughout colonial history, these authors and their poetry criticize, in their own creative ways, the continuing colonial assaults to their existence by the nation-state. Throughout, Keme displays the decolonial potentialities and shortcomings proposed by each Maya writer, establishing a new and productive way of understanding Maya living realities and their emancipatory challenges in Iximulew/Guatemala.This innovative work shows how Indigenous Maya poetics carries out various processes of decolonization and, especially, how Maya literature offers diverse and heterogeneous perspectives about what it means to be Maya in the contemporary world.Trade Review "This book offers brilliantly conceptualized and well-grounded readings on the work of Maya poets in times of colonial, patriarchal, and racial violence in Guatemala. Emil’ Keme's critical journey is permeated by a powerful sense of anti-colonial resistance and an imaginary of Indigenous liberation that is both poetic and political."—Luis E. Cárcamo-Huechante, founding member of the Comunidad de Historia Mapuche "With Le Maya Q’atzij/Our Maya Word, Emil’ Keme has given us a brilliant analysis of how Maya literary production constitutes resistance to the ongoing imposition of settler capitalist colonization in Iximulew/Guatemala. From the perspective of a Maya scholar, Keme offers a sophisticated and insightful read of works by K’iche’, Kaqchikel, Q’eq’chi’, Q’anjob’al, and Pop’ti poets in their political context, guided throughout by a clear and decisive love of le Maya tzij, or the Maya word. This book makes a valuable contribution not only to Maya studies and literary studies, but also to Native and Indigenous studies hemispherically and globally."—Shannon Speed (Chickasaw), University of California, Los Angeles "Le Maya Q’atzij / Our Maya Word is an energetic attempt to recover and promote Mayan identity, culture, and language from over five hundred years of encroachment. The author critically analyzes poetry that delves into the challenges of the Mayan people in the land claimed as Mayan: Iximulew "—Studies in 20th & 21st Century Literature "It is clear both from the studied works and from Keme's analysis that contemporary Mayan literature has a complexity that seems not only to evolve but is constantly differentiating and diversifying itself."—The Canadian Journal of Native Studies Table of ContentsContentsIntroduction: Iximulew’s/Guatemala’s Indigenous Poetry since 19601. Kaqchikel Maya Identity: Francisco Morales Santos and Luis de Lión2. Strategic Essentialism against State Terrorism: Humberto Ak’abal, Victor Montejo, and Gaspar Pedro González3. Xib’alba and Globalism: Rosa Chávez, Pablo García, and Sabino Esteban Francisco4. Maya Feminism and Queer Poetics: Maya Cu and Manuel TzocConclusion: The Maya Word Will Never DieAcknowledgmentsNotesBibliographyIndex

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Book SynopsisNahum Dimitri Chandler examines W. E. B. Du Bois's early thought and its continued relevance, demonstrating that Dub Bois must be re-read, appreciated, and studied anew as a philosophical writer and thinker contemporary to our time.Trade Review“Nahum Dimitri Chandler's "Beyond This Narrow Now" gives the reader the marvelous benefit of Chandler's exquisite knowledge of the DuBoisian oeuvre and his singular unrelenting commitment to tarrying with it. As one of our master teachers, Chandler is at his best here in leading us systematically, virtually line by line, through early Du Bois in his critical conceptual formation.” -- Hortense J. Spillers, Gertrude Conaway Vanderbilt Professor, Vanderbilt University“‘Beyond This Narrow Now’ is a seminal contribution to foregrounding Du Bois’ epistemological roots and its implication for the future.” -- Mosa M. Phadi * Ethnic and Racial Studies *"Chandler is a meticulous scholar and a brilliant thinker with much to say about Du Bois as an intellectual problem. Parts of the book will be accessible to many readers, and Chandler’s approach to analysis serves as a master class in close reading. However, because of the occasionally esoteric nature of Chandler's approach, readers with a background in critical theory or philosophy have the most to gain. Recommended. Upper-division undergraduates, graduate students, researchers/faculty, professionals/practitioners." -- J. W. Miller * Choice *“Chandler’s work is a definitive contribution towards a re-assessment of contemporary orientations of Du Boisian scholarship. His original thoughts and perspectives on Du Bois . . . provide new, innovative approaches to the work of such an iconic thinker and writer.” -- Lena Dallywater * Connections *"Insofar as he remains a critical resource in the present, perhaps one of the things that is most useful about Du Bois today is his ability to interpret historical possibility as the other side of historical limit, and to convince us that the future can still be altogether otherwise than the past that has been given to us, even now. There is no better guide to these aspects of Du Bois’s thought than Nahum Chandler’s 'Beyond This Narrow Now.'. . . Chandler is a poetic and evocative stylist, as well as a profound thinker, who offers the reader aesthetic and intellectual pleasures that help compensate for whatever syntactic or semantic hurdles pop up along the way." -- Ian Litwin * Georgia Review *"Chandler provides a patiently elaborated study of Du Bois’s early thought—a 'delimitation' of this thought that argues for the openness of its investigations and thus our perennial return to its hermeneutics." -- Rebecka Rutledge Fisher * American Literary History *"The merit of Chandler's work is that he stretches Du Bois's reflections along the arc drawn by contemporaneity and brings them into conversation with a constellation of critical theories from post-structuralism to post-colonialism, highlighting the specificity and contemporary importance of Du Bois's thought." -- Vincenzo Di Mino * Journal of Critical Race Inquiry *Table of ContentsAcknowledgments vii Note on Citations xiii An Opening—At the Limit of Thought, a Preface xvii A Notation: The Practice of W.E.B. Du Bois as a Problem for Thought—Amidst the Turn of the Centuries 1 Part I. "Beyond This Narrow Now": Elaborations of the Example in the Thought of W.E.B. Du Bois—At the Limit of the World 25 Part II. The Problem of the Centuries: A Contemporary Elaboration of "The Present Outlook for the Dark Races of Mankind," circa the 27th of December, 1899—Or, At the Turn of the Twentieth Century 145 Another Coda, the Explicit—Revisited 221 Notes 231 References 269 Index 291

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Book SynopsisAt the Mercy of Their Clothes explores the agency of fashion in modern literature. Celia Marshik’s study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory.Trade ReviewIn At the Mercy of Their Clothes, Celia Marshik deftly weaves together high, low, and middlebrow culture, archival and literary sources, fashion studies, social history, and philosophy. The result is a volume that illuminates the overwhelming, charged power of clothes in the modernist era. Marshik tackles the biggest issues: how fashion conveys meaning; how clothes create or dismantle social identity; the role of material culture in art, literature, and history; and finally, how we live both with and through objects. A work of superb, wide-ranging research offering an intriguing new perspective. -- Rhonda Garelick, Author of Mademoiselle: Coco Chanel and the Pulse of HistoryThis is a marvelous book. At The Mercy of Their Clothes is timely, original, and ranges widely. Marshik dexterously puts current conversations in fashion studies into serious dialogue with the literary—alongside the archival, the visual, the journalistic and the psychological. Moreover, in sewing together under-read middlebrow and popular writers with what we thought we knew about modernism, Marshik lets us hear these "garment-things" speak. -- Jessica Burstein, author of Cold Modernism: Literature, Fashion, Art Marshik convincingly demonstrates that few things are more worrisomely lively than the clothes we wear. More than simply magical talismans or fetish objects, they are potentially hazardous wights that can leech away human subjectivity. The inward turn of modernism, when seen this way, becomes less about a Freudian discovery of inner riches than about an ongoing retrenchment in which the self becomes ever more subject to things—and particularly to those things we wear every day. This book is far more than just a study of clothing... it is a significant rethinking of modernism, combining cultural history and theoretical innovation on almost every page. -- Sean Latham, University of TulsaClothes are dangerous. Instead of presenting dress as a form of self-expression, Marshik reveals its power to diminish, imperil and undo the modern self. In this highly original and exciting book, she ranges from Ulysses to the Sunday Pictorial, from Mrs. Dalloway to The Tale of Mr. Jeremy Fisher, demonstrating the potentiality of garments across modernist, middlebrow and popular cultures in Britain. A superb achievement. -- Faye Hammill, University of Strathclyde, GlasgowAt the Mercy of their Clothes makes an important contribution to a developing critical tradition that focuses on garments and fashion to assess how writers of the early twentieth century debated and constructed individuality in a time marked by socio-economic and techno- logical change. It will be of immense interest to scholars and students of early twentieth-century literature, modernism, and material culture. I, for one, have already assigned the mackintosh chapter as essential reading for my Ulysses class next year. -- Vike Martina Plock * Modernism/modernity *Marshik’s cultural studies approach is both convincing and provocative. Her study ties together threads of contemporary cultural studies theory with fashion studies, modernist literary criticism and sociology. As an interdisciplinary project, the book offers a fresh perspective on the dialogic exchange among the period’s modernist literary texts, popular media, fashionable garments and consumers. -- Lauren S. Cardon * Literature & History *At the Mercy of Their Clothes offers a brilliant compendium of archival material woven into a tightly articulated and important argument about material culture’s intersections with the literary and art worlds that will enrich readers’ scholarship and teaching. -- Sarah Cornish * The Space Between: Literature and Culture 1914-1945 *At the Mercy of Their Clothes sheds light on the vexed relationships between garments and their wearers in the early twentieth century, and each chapter is engaging as well as versatile in its attention to modernist and middlebrow voices. Throughout, Marshik’s research is thorough and absorbing, and her argument persuasive. -- Emily James * Woolf Studies Annual *Fluently written and deftly argued, Marshik’s book is a landmark work. . . . The insights in At the Mercy of Their Clothes: Modernism, The Middlebrow, and British Garment Culture will be of interest to all scholars working on texts and textiles, and for those at the intersection of modernist and middlebrow studies, Marshik’s work constitutes essential reading. -- Helen Saunders * The Modernist Review *Celia Marshik’s At the Mercy of Their Clothes: Modernism, the Middlebrow, and British Garment Culture is a seminal text at the forefront of current conversations bringing fashion studies into the realm of the literary. -- Jarica Linn Watts * James Joyce Quarterly *At the Mercy of Their Clothes is a significant, sophisticated, and genuinely illuminating account of Modernism’s relationship to the middlebrow and to popular culture. -- Katherine Mullin * James Joyce Literary Supplement *We have all experienced the punishing power of clothes. The pair of jeans that no longer fit: they, rather than our expanding waist, become the symbol of our disappointing self-image. The bold pattern that felt emboldening at home in front of the mirror, but at the party seems too loud and makes us feel conspicuous and awkward. Celia Marshik’s At the Mercy of Their Clothes: Modernism, Middlebrow, and British Garment Culture is a brilliantly researched and immensely readable catalogue of such anxious moments and their implications for selfhood. -- Sophie Oliver * The Review of English Studies *Marshik’s work brings a critical and indispensable lens to the impact and effects of clothing in the twentieth century and will be of interest to Woolf scholars and a wide range of scholars interested in popular culture, middlebrow and modernist texts, and history. -- Lois Gilmore * Virginia Woolf Miscellany *Table of ContentsList of IllustrationsAcknowledgmentsIntroduction: At the Mercy of Their Clothes1. What Do Women Want? At the Mercy of the Evening Gown2. Wearable Memorials: Into and Out of the Trenches with the Modern Mac3. Aspiration to the Extraordinary: Materializing the Subject Through Fancy Dress4. Serialized Selves: Style, Identity, and the Problem of the Used GarmentCoda: Precious ClothingNotesBibliographyIndex

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Book SynopsisThe Major Declamations, attributed to Quintilian in antiquity, exemplify the final stage of Greco-Roman rhetorical training, in which students delivered speeches for the prosecution and defense at imaginary trials. A wide variety of fascinating ethical, social, and legal details animate the fictional world conjured up by these oratorical exercises.

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Book SynopsisThe Major Declamations, attributed to Quintilian in antiquity, exemplify the final stage of Greco-Roman rhetorical training, in which students delivered speeches for the prosecution and defense at imaginary trials. A wide variety of fascinating ethical, social, and legal details animate the fictional world conjured up by these oratorical exercises.

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Book SynopsisThe Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel’s transformative and timeless influence on an entire genre of fantasy.   A Penguin Classics Marvel Collection Edition   Collects Fantastic Four #52-53 (1966); Jungle Action #6-21 (1973-1976). It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.   The Black Panther is not just a super hero; as King T’Challa, he is also the monarch of the hidden African nation of Wakanda. Combining the strength and stealth of his namesake with a creative scientific Trade Review“A groundbreaking example of comics representation in literature.”—Publishers Weekly“Penguin provides introductory essays; superb analyses by the series editor, Ben Saunders; and extensive bibliographies.”—Michael Dirda, The Washington Post“Stories become classics when generations of readers sort through them, talk about them, imitate them, and recommend them. In this case, baby boomers read them when they débuted, Gen X-ers grew up with their sequels, and millennials encountered them through Marvel movies. Each generation of fans—initially fanboys, increasingly fangirls, and these days nonbinary fans, too—found new ways not just to read the comics but to use them. That’s how canons form. Amateurs and professionals, over decades, come to something like consensus about which books matter and why—or else they love to argue about it, and we get to follow the arguments. Canons rise and fall, gain works and lose others, when one generation of people with the power to publish, teach, and edit diverges from the one before ... A top-flight comic by Kirby—or his successor on “Captain America,” Jim Steranko—barely needed words. You could follow the story just by watching the characters act and react. Thankfully, Penguin volumes do justice to these images. They reproduce sixties comics in bright, flat, colorful inks on thick white paper—unlike the dot-based process used on old newsprint, but perhaps truer to their bold, thrill-chasing spirit.”—Stephanie Burt, The New Yorker

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Book SynopsisTable of ContentsAct 1Act 2Act 3Act 4Act 5

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Book SynopsisWhat comes to mind when we think of swans? Likely their beauty in domestic settings, their preserved status, their association with royalty, and possibly even the phrase ‘swan song’. This book explores the emergence of each of these ideas, starting with an examination of the medieval swan in natural history, exploring classical writings and their medieval interpretations and demonstrating how the idea of a swan’s song developed. The book then proceeds to consider literary motifs of swan-to-human transformation, particularly the legend of the Knight of the Swan. Although this legend is known today largely through Wagner’s opera, it was a best-seller in the Middle Ages, and courts throughout Europe strove to be associated as descendants of this Swan Knight. Consequently, the swan was projected as an icon of courtly and eventual royal status. The book’s third chapter looks at the swan as icon of the Lancasters, particularly important during the reign of Richard II and the War of the Roses, and the final chapter examines the swan as an important item of feasting, focusing on cookery and husbandry to argue that over time the right to keep swans became an increasingly restricted right controlled by the English crown. Each of the swan’s medieval associations are explored as they developed over time to the modern day. 　Table of ContentsIntroduction 1. The Medieval Swan: History and Culture 2. The Swan in Literature 3. The Swan at Court 4. The Swan in Art 5. The Legacy of the Medieval Swan Bibliography

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Book SynopsisThis refresher reference volume features concise character and plot summaries for 12 of Shakespeare's best-known plays, drawn from the SparkNotes website and illustrated with colourful infographics. Each of the 12 chapters in this volume runs 6 to 8 pages of text taken from the SparkNotes website, and is illustrated with colourful infographics for easy consumption. The 12 plays featured six comedies and six tragedies are among the most famous and most taught of Shakespeare's dramas, including Hamlet, King Lear, Macbeth, Romeo and Juliet, The Taming of the Shrew, The Merchant of Venice, Othello, and Julius Caesar.

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Book SynopsisThe first book to publish the entirety of Franz Kafka’s graphic output, including more than 100 newly discovered drawingsTrade Review“Franz Kafka’s drawings are neither ‘scribblings’ (as he called them) nor illustrations meant as mere accompaniments to text. . . . Kafka saw pictures and words as not complementary but independent, even irresolvable. The figures he drew stand alone as stories in themselves.”—Lauren Christensen, New York Times Book Review“[Kafka] was serious about the visual as well as the verbal. . . . His figures are grotesques, sometimes comical, sometimes cruel, their bodies, often drawn in dark black ink, like Rorschach blots come to life.”—Max Norman, Wall Street Journal“The more you move through this book, the more drawing and writing seem to exist for Kafka on a single and intricate plane, and it begins to change all the usual perspectives.”—Adam Thirlwell, Times Literary Supplement“Exquisitely produced. . . . In these drawings we see Kafka, unshackled from the cognitive cage of verbal meaning, remembering how to play. . . . Kilcher’s discussion of the influence on Kafka of Asian art . . . is especially interesting.”—George Prochnik, Literary Review“Until the legal resolution of their ownership in 2019, very few [of Kafka’s drawings] were seen by the public. Now Yale has revealed them all, publishing the complete catalogue raisonné.”—David Hayden, RA“A sumptuous volume. . . . As windows into Kafka’s elusive, elliptical imagination [his drawings] are fascinating.”—Robert Douglas-Fairhurst, Apollo“Fascinating and question-begging. These are wild and impromptu drawings, off the cuff, many of them in pencil. . . . What we had not expected were such bolts of fiery humour. Kafka was not always in the grip of pained self-haunting, it seems. And especially not when very young, as we see him here.”—Michael Glover, The Tablet, “Best New Art Books”“The uncanny animatedness, that which strikes us in Kafka’s prose even before we are enraptured by its depths, lives everywhere in the evidence of his hand. It lives in his cursive script, in these faces and bodies and windswept horses, in these self-portraits we encounter having somehow always known he was there, staring into us, waiting to be seen.”—Jonathan Lethem, author of The Fortress of Solitude“An important and original book. Informative and perceptive, it illuminates a side of Kafka that has hitherto scarcely been known.”—Ritchie Robertson, author of Kafka: A Very Short Introduction“Kafka, this absorbing book shows, was both artist and art-lover: inspired by Asian art, he explored line in defiance of gravity, drawing as a counterpoint to script. An intriguing volume, with Butler’s essay as the highlight.”—Katie Trumpener, Yale University

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Book SynopsisAnimal Fables of the Courtly Mediterranean is a treasure trove of widely translated stories on how to conduct oneself and succeed in life. The new Byzantine Greek text and English translation presented here is based on a twelfth-century work that contains unique prefaces and reinstates stories omitted from the earliest Greek version.

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Book SynopsisImmerse yourself in the stories behind the most shocking and infamous books ever published!Censorship of one form or another has existed almost as long as the written word, while definitions of what is deemed acceptable in published works have shifted over the centuries, and from culture to culture.Banned Books explores why some of the world''s most important literary classics and seminal non-fiction titles were once deemed too controversial for the public to read - whether for challenging racial or sexual norms, satirizing public figures, or simply being deemed unfit for young readers. From the banning of All Quiet on the Western Front and the repeated suppression of On the Origin of the Species, to the uproar provoked by Lady Chatterley''s Lover, entries offer a fascinating chronological account of censorship and the astonishing role that some banned books have played in changing history. Packed with eye-opening insights

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Book SynopsisThis edition of Herman Melville's monumental novel includes a new introduction that is attentive both to the rich literary history of Moby-Dick, and to the book's sharp relevance to issues of environmentalism, disability, power, race, and sexuality today.Table of ContentsIntroduction Note on the text Selected Bibliography Herman Melvolle Chronology MOBY-DICK; OR, THE WHALE Appendix: Melville's Letters to Nathaniel Hawthorne Explanatory Notes

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Book SynopsisThe first comprehensive guide to Elizabethan ideas about the mindTrade Review“An outstanding achievement: broad-ranging, intelligently synthetic and written in unflaggingly lucid prose. . . . Helen Hackett shows us over and again that the inability of the Elizabethans to know themselves as fully as they wanted to mattered to them a great deal. Discomfited though this state of affairs could leave them feeling, it explains why their literature still matters to us today.”—Rhodri Lewis, Times Literary Supplement“Hackett reads a breathtaking diversity of literature with great sensitivity. . . . The Elizabethan Mind . . . is an impressive achievement.”—P. Kishore Saval, Australian Book Review“This enthralling study captures the changing ways in which the mind was understood, and the thought processes of a society that continues to captivate today.”—BBC History Revealed“Hackett callipers her subject with shrewd delicacy, arranging interventions and insights along a line of recognisable topoi—the role of women, attitudes towards race, Shakespeare, demonic possession.”—Madoc Cairns, The Tablet“Hackett’s extraordinary achievement in The Elizabethan Mind combines learning and empathy as she ranges across cognitive, emotional, spiritual, and physiological approaches. Come for Hamlet, stay for female complaint, Catholic poetics, sonnets, psychomachia, and much more.”—Emma Smith, author of This is Shakespeare“Hackett has synthesized an extraordinary range of books to illuminate aspects of the Elizabethan mind. She offers excellent readings of familiar works such as Shakespeare’s tragedies as well as little-known gems such as women’s translations of the Psalms. Readers will come away equipped to read Shakespeare and his contemporaries with renewed understanding.”—Jonathan Bate, author of Soul of the Age: The Life, Mind and World of William Shakespeare“Wonderfully perceptive and illuminating. If you want to understand how the Elizabethans viewed themselves, each other, and the world, read this book.”—Elizabeth Goldring, author of Nicholas Hilliard: Life of an Artist

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Book SynopsisThis beautiful HarperCollins Children's Classics edition is perfect for every bookshelf.Sara Crewe's life is almost a fairy tale, and she is the fairy princess in it, happy and rich with a father who loves her dearly. But, in one horrible moment, that is all taken away. Sara is now alone at Miss Minchin's boarding school in London, orphaned and penniless.What she'd once been called in flattery is quickly whispered in mockery: Princess Sara. However, Sara will realise there is more to a princess than gowns and jewels. Even dressed in rags and tatters, she can be a princess inside. Anyone can.From the author of The Secret Garden comes a story brimming with heart and hope, beloved by generations of readers.Complete your library with HarperCollins Children's Classics.

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Book SynopsisThe Victorian writer George Meredith completed Modern Love, his most famous poem, in the months following his wife's death in 1861. The series of 16-line sonnets (a stanzaic form Meredith invented) depicts isolated scenes in an unhappy marriage as both partners take lovers. At the time, Meredith's long poem was savaged by critics both for its style and for its "diseased" content. In this century, however, it has received increasingly favorable attention as an extraordinarily powerful exploration of the realities of Victorian marriage. Along with the text itself and an informative introduction, the editor provides a wide range of background materials to help set the work in its historical and literary context.Trade Review“In this superbly edited Broadview edition, Modern Love is made newly available both for course assignment and for the general reader. Well-chosen ancillary materials—contemporary reviews, feminist and anti-feminist polemics, debates about what ‘modern’ poetry ‘could and, more importantly, should represent’—are included to set Meredith’s 50-poem sequence in context. Many of Meredith’s mid-Victorian contemporaries were outraged by his bleakly unillusioned exposure of the innermost precincts of married life. In our own cultural moment, these scenes from a marriage are both classic and timely, probing the misery two modern lovers inflict and suffer with utmost candor and compassion.” — Jane Hedley, Bryn Mawr College author of Modern Marriage and the Lyric Sequence “… This edition recognizes the significance of Modern Love by allowing it to stand apart. The choice to curate and comment on a just selection of poems originally published alongside the sonnet sequence … is a welcome one; it illuminates Meredith’s poetic range and Victorian literary taste while inviting a next generation of research to celebrate the powerful unorthodoxy of Modern Love. Well-chosen and beautifully contextualized reviews and contemporaneous writings on poetic form and gender ideology draw out the literary and historical dimensions of the poem in this new, soon-to-be integral edition.” — Alicia Williams, Rutgers University “This excellent and necessary edition of George Meredith’s most important poem will be a great help to scholars, teachers, and students. Elisha Cohn’s expert editing and illuminating notes make this complex sonnet sequence accessible and enjoyable both for fans of Meredith and for anyone encountering his work for the first time. The supplementary materials … make a powerful case for the literary and cultural significance of a text that remains provocative in its articulation of the vexed relationship between men and women.” — Anna Barton, University of SheffieldTable of Contents Introduction Modern Love Modern Love In Context Meredith's Poems "Juggling Jerry" (1862) "The Beggar's Soliloquy" (1862) "Ode to the Spirit of The Earth in Autumn" (1862) "Lucifer in Starlight" (1883) Contemporary Reviews from Unsigned Review, Parthenon (1862) from Unsigned Review, Athenaeum (1862) from R.H. Hutton, The Spectator (1862) from A.C. Swinburne, Letter to The Spectator (1862) R.H. Hutton, The Spectator (1862) from Unsigned Review, Westminster Review (1862) from Unsigned Review, Saturday Review (1863) from Arthur Symons, "Meredith's Poetry," Westminster Review (1887) Gender Ideology from Sarah Stickney Ellis, The Daughters of England: Their Position in Society, Character and Responsibilities (1842) from Caroline Norton, English Laws for Women in the Nineteenth Century (1854) from The Matrimonial Causes Act (1857) from William Cobbett, Advice to Young Men, and (Incidentally) to Young Women, in the Middle and Higher Ranks of Life (1829/1862) from J.S. Mill, On the Subjection of Women (1869) Poetics from J.S. Mill, "What is Poetry?" (1833) from Matthew Arnold, "Preface" to Poems (1853) from Arthur Hugh Clough, "Recent English Poetry: A Review of Several Volumes of Poems by Alexander Smith, Matthew Arnold, and Others" (1853) from Gerald Massey, "Poetry—The Spasmodists" (1858) from E.S. Dallas, The Gay Science (1866) from George Meredith, "The Idea of Comedy and the Uses of the Comic Spirit" (1877) from William Sharp, Sonnets of this Century (1886) Images

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Book SynopsisRevisits the theme of alienation in modernist literature, finding an alternative aesthetic centered on the experience of double exile. Explores examples drawn from the cultural groupings of the New Negro movement, Parisian expatriates in the 1920s, and the queer expatriate scene in Los Angeles before Stonewall. Trade Review“González’s work to break down the divide between queer-of-color critique and antisocial queer approaches is well overdue and should make further antisocial queer-of-color analyses available. It’s also clear that turning to a category like that of the misfit could relieve queerness of the impossible demand to be about all forms of marginality.”—Ben Nichols American Literary History“Misfit Modernism tends to the ‘misfit’ structures of feeling of intersectional modernist authors before the full efflorescence of identity politics. In the process, it puts antisociality, negative affect, and arrested agency on the map for queer of color critique. In a series of brilliant and sensitive ‘immanent readings,’ González demonstrates how such negative affects respond to the dilemma of the misfit’s ‘double exile’—a sense of nonconformity and unbelonging with dominant and minoritarian cultures alike.”—Kadji Amin,author of Disturbing Attachments: Genet, Modern Pederasty, and Queer History“This wide-ranging book celebrating some of modernism’s most perplexing and pleasurable misfits stages an original conversation between the new modernist studies, queer-of-color critique, theories of intersectionality, and narratology. It pushes the growing field of queer modernist studies in new and exciting directions.”—Benjamin Bateman,author of The Modernist Art of Queer Survival

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Book SynopsisCan you get lost in a crowd? It is polite to stare at people walking past on the street? What differentiates the city of daylight and the nocturnal metropolis? What connects walking, philosophy and the big toe? Can we save the city - or ourselves - by taking the pavement?There is no such thing as the wrong step; every time we walk we are going somewhere. In a series of riveting intellectual rambles, Matthew Beaumont retraces a history of the walker from Charles Dicken's insomniac night rambles to wandering through the faceless, windswept monuments of the neoliberal city including Edgar Allen Poe, Andrew Breton, H G Wells, Virginia Woolf, Jean Rhys and Ray Bradbury. As the author shows, the act of walking is one of escape, self-discovery, disappearances and potential revolution, and explores the relationship between the metropolis and its pedestrian life.Trade Review“[The Walker] is an erudite book that moves at a pace alternating between brisk and leisurely … Like his prose, Beaumont’s mind is anything but pedestrian. He is as attuned to matters of medicine and science, anthropology, economics, philosophy and psychology as he is to literature and the visual arts … Beaumont uses the language of contemporary literary theory, but with none of the rebarbative jargon-mongering of others in the professoriate. His references to the usual suspects—from Marx, Freud and Adorno through Lacan and Derrida, to Deleuze and Guattari, Žižek and Agamben—are never gratuitous, but always helpful in understanding the literary, historical, and psychological terrain he explores.”—Willard Spiegelman, Wall Street Journal “Matthew Beaumont’s prose is the golden thread of elegance and erudition we need to guide us through the labyrinth of the modern city. These essays confirm him to be simultaneously the possessor of a coherent and convincing overview of emergent Modernist thought and creativity in the urban context, and the inheritor of all the radical subjectivities he engages with. This is a superb and always engrossing collection.”—Will Self, author of Psychogeography “[The Walker] is absolutely fascinating and [Beaumont’s] literary references are wonderful … I absolutely loved it.”—Jo Good, BBC Radio London “The Walker seeks to take its reader on an intriguing journey … if you’re looking for some escapism that goes beyond the clichés of repetitive travel literature, this could well be the book for you.”—Northern Soul “[Beaumont’s] style is a treat—elegant, intelligent and entertaining as he describes the ways we read a city with our feet and mind, and guides us through a history of walking writing from Dickens and Poe to Marx and Žižek.”—Edwin Heathcote, Financial Times “An uncanny and haunting foreshadowing of our cities as they now appear to us … familiar subjects are given revelatory new interpretations … thought-provoking.”—Margaret Drabble, Times Literary Supplement “Drawing on numerous literary sources, both familiar and obscure, Beaumont takes the reader on a labyrinthine journey into the literature of walking and thinking.”—Sean O’Hagan, Observer“[A] heady blend of history and theory.”—New Yorker “Fascinating … those interested in how literature has explored urban modernity are sure to find ample food for thought.”—Publishers Weekly“Dazzling.”—Eminetra “Dazzlingly erudite.”—Chris Moss, Guardian “Elegantly written and compellingly argued … A highly commendable, engaging, and thoroughly researched study, The Walker infuses the poetics of walking with the politics of homing.”—‪Maxim Shadurski‬, English Studies‬‬“Striking … a poetic heft rings resoundingly throughout [Beaumont’s] commentary, justly inviting a reader’s own imagined extensions.”—Patrick James Dunagan, Rain Taxi Review of Books “From start to finish a delight to read, The Walker is the beginning of wisdom in all things metro-pedestrian.”—Ian Thomson, New Statesman “[The Walker] fascinates and informs from beginning to end … Beaumont has positioned himself as the foremost theorist of walking working in English literary studies today.”—Jeremy Withers, The Wellsian“Intriguing … The Walker celebrates the secret, subversive life of cities and the people who pace their streets.”—Jane Shilling, Daily Mail “[A] well-researched work of literary criticism.”—Hannah Beckerman, Observer“Drawing on numerous literary sources, both familiar and obscure, Beaumont takes the reader on a labyrinthine journey into the literature of walking and thinking … Baudelaire, the flâneur poet of the Parisian dispossessed of another time, would surely have approved.”—Sean O’Hagan, Guardian

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