Literary studies: c 1800 to c 1900 Books

Book SynopsisIn the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded to from Spain and Italy, pointing to the similarities and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.Table of ContentsIntroduction  Xavier Andreu and Mónica Bolufer 1 Gallantry and Sociability in the South of Europe: Shifting Gender Relationships and Representations  Mónica Bolufer 2 On the Spanish National Character: Gender and Modernity in Joseph de La Porte’s Le Voyageur françois (1772)  Ester García-Moscardó 3 More Than One Modernity. North and South America in Enlightenment Debates on Empire, Gender and Nation  Nuria Soriano 4 Nations, Sexuality, and Violence in Nineteenth-Century National Narratives  Alberto M. Banti 5 Honour and Violence: Mediterranean Exoticism and Masculinity  Joep Leerssen 6 Meridian Ambivalences: Gendering the South in the Writings of the Coppet Group  Diego Saglia 7 Peoples of Bandits. Romantic Liberalism and National Virilities in Italy and Spain  Xavier Andreu 8 The Moral and Civil Leadership of Italian Women. Female Models between Italy and Europe in the Era of the Risorgimento  Maria Pia Casalena 9 Men, Women, and a Virtuous Nation. Spanish Radical Novels of the Mid-Nineteenth Century  Florencia Peyrou 10 Northerness in the South. Basque Stereotype and Gender  Coro Rubio Pobes 11 A Growing Distrust of Southern Italy. Images and Theories about National Backwardness in Liberal Italy, 1876–1914  Antonino De Francesco 12 Love, Gender and Class in the Nationalist Project of Emilia Pardo Bazán: An Unsentimental Story  Isabel Burdiel 13 When the Empire Is in the South. Gendered Spanish Imperialism in Morocco at the End of the 19th Century  Ferran Archilés Index

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Book SynopsisThis comparative, interdisciplinary study investigates the relationship between literature and the visual arts in France and Britain from 1750-1900. Through a close examination of the prose writings of Diderot, Baudelaire and Ruskin, read against the background of contemporary philosophy, aesthetics and theories of language, In the Mind’s Eye proposes a new interpretation of the influence and rivalries underlying the development of art criticism as a genre during this period. The visual impulse – the desire to transcend the limitations of language and make the reader see – is located within the historical traditions of ekphrasis, enargeia and the paragone, while in each chapter, the individual author’s theories of the mind, memory and imagination provide a critical framework for his stylistic experiments. In the Mind’s Eye presents an in-depth analysis of the cultural, theoretical and aesthetic implications of artistic border crossings, and by contextualizing the movement toward visual/verbal hybridity in the fiction and criticism of Diderot, Baudelaire and Ruskin, brings new perspectives to nineteenth-century studies in art and literature.Table of ContentsAcknowledgments Introduction The Visual Impulse in Prose: Border Crossings and the Anxieties of Interdisciplinarity Chapter 1 Towards a Visual Discourse: Theories of the Origin of Language, Enargeia, Ekphrasis and Associationism Chapter 2 Diderot’s Visual Prose: Gesture, Hieroglyph and the Visual Imagination Chapter 3 Baudelaire and the Salons: The Critic as Artist Chapter 4 Les Paradis Artificiels, Le Surnaturel and the Prose Poem : The Aesthetics of Psychological Flânerie Chapter 5 Ruskin and the Language of Images Chapter 6 Ruskin’s Moving Images: The Politics and the Poetics of the Paragone Conclusion Diderot, Baudelaire, Ruskin: Envisioning Visionaries Bibliography

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Book SynopsisAddressed to all readers of Our Nig, from professional scholars of African American writing through to a more general readership, this book explores both Our Nig’s key cultural contexts and its historical and literary significance as a narrative. Harriet E. Wilson’s Our Nig (1859) is a startling tale of the mistreatment of a young African American mulatto woman, Frado, living in New England at a time when slavery, though abolished in the North, still existed in the South. Frado, a Northern ‘free black’, yet treated as badly as many Southern slaves of the time, is unforgettably portrayed as experiencing and resisting vicious mistreatment. To achieve this disturbing portrait, Harriet Wilson’s book combines several different literary genres – realist novel, autobiography, abolitionist slave narrative and sentimental fiction. R.J. Ellis explores the relationship of Our Nig to these genres and, additionally, to laboring class writing (Harriet Wilson was an indentured farm servant). He identifies the way Our Nig stands as a double first: the first separately-published novel written in English by an African American female it is also one of the first by a member of the laboring class about the laboring class. This study explores how, as a result, Our Nig tells a series of disturbing two-stories about America’s constitutional guarantee of ‘freedom’ and the way these relate to Frado’s farm life.Trade Review”Harriet Wilson’s Our Nig looks great; it takes a fresh approach to Wilson’s fundamental contribution to the African American canon. I shall recommend it without reservation” – Henry Louis Gates, JrTable of ContentsPreface and Acknowledgements Illustrations and Photographs Abbreviations Introduction Chapter One: Our Nig and Wilson’s Life Chapter Two: Antislavery, Abolitionism and the Slave Narrative Chapter Three: Sentimental Fiction, Sentimentality and Religion Chapter Four: Poverty, Gender and Race Issues Chapter Five: Work, Class and the Free Market Chapter Six: Textualities Conclusion Appendix A Bibliography Index

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Book SynopsisOn the centenary of Fontane’s death and at the turn of the century these essays take a new look at this supreme chronicler of Prussia and of the Germany that emerges after 1871. Written by scholars from different countries and disciplines, they focus on novels and theatre reviews from the perspectives of philosophy, sociology, comparative literature and translation theory, and in the contexts of topography and painting. Connections and crosscurrents emerge to reveal new aspects of Fontane’s poetics and to produce contrasting but complementary readings of his novels. He appears in the company of predecessors and contemporaries, such as Scott, Thackeray, Saar, Ibsen, Turgenev, but also in that of writers he has rarely, if ever, been seen beside, such as E.T.A. Hoffmann, Stendhal, Trollope, Henry James and Edith Wharton, Beckett and Faulkner. The historical novel and the social position of women are each a recurring focus of interest. Fontane emerges as receptive to other voices, as a precursor of developments in modern narrative, and confirmed as the novelist who brings the nineteenth-century German novel closest to the broad traditions of European realism.Trade Review”…interesting, stimulating, and useful.” in: The Modern Language Review 98.4, 2003, pp. 1053-4Table of ContentsPreface Rüdiger GÖRNER: Fontane and the European Context: Introduction Renate BÖSCHENSTEIN: Fontane’s Writing and the Problem of “Reality” in Philosophy and Literature Norbert BACHLEITNER: Of Grieving Girls and Suicidal Soldiers: Theodor Fontane and Ferdinand von Saar Peter James BOWMAN: Schach von Wuthenow : Interpreters and Interpretants Yves CHEVREL: Theodor Fontane and France: A Problematic Encounter Hans ESTER: Problems of Translation, Arising from the Context of Fontane’s Works Barbara EVERETT: Night Air: Effi Briest and other Novels by Fontane Inga-Stina EWBANK: Hedda Gabler, Effi Briest and “The Ibsen Effect” Hans VILMAR GEPPERT: Prussian Decadence: Schach von Wuthenow in an International Context Barbara HARDY: Tellers and Listeners in Effi Briest Patricia HOWE: “A visibly-appointed stopping-place”: Narrative Endings at the End of the Century Helmut KUZMICS: Aristocracy and Bourgeoisie in Late Nineteenth-century Prussia and England: Comparing Processes of Individualisation in Fontane and Trollope Jacques LEGRAND: Fontane and Stendhal: Mediators of a European Idea of Intellectual Nobility W.J. Mc CORMACK: Haunted Realism: Beckett through Fontane Domenico MUGNOLO: Theodor Fontane and the Nineteenth-century Italian Novel: A Contrastive Comparison Teresa MARTINS DE OLIVEIRA: Fontane’s Effi Briest and Eça de Queirós’s O Primo Bazilio: Two Novels of Adultery in the Context of European Realism Alexander STILLMARK: Fontane and Turgenev: Two Kinds of Realism Godela WEISS-SUSSEX: Fontane’s and Georg Hermann’s Berlin: Relationships with Contemporary Berlin Painting Maite ZUBIAURRE: Panoramic Views in Fontane, Galdós and Clarín: An Essay on Female Blindness List of Illustrations Notes on Contributors

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Book SynopsisTradition and how far writers fit into or diverge from the demands of tradition is one of the most debated issues in literary discussion. Gender, however, is not often part of discussions which depend on such questions at the decisiveness of the Modernist break with the Victorian period or whether Postmodernism makes tradition meaningless. By contrast the very existence of a specifically female tradition is still an urgent subject of debate, and it is clear that many nineteenth-century women writers were troubled in their search for literary foremothers. This autobiographical impetus can be located in the work of each of the poets discussed in Tradition and the Poetics of Self Nineteenth-Century Women’s Poetry: Elizabeth Barrett Browning, Caroline Bowles Southey, Emily Dickinson and Christina Rossetti. An exploration of the self, either in the abstract or in a more closely personal sense, appears in a concern with the craft of poetry and the role of the poet, in a teasing out of language as a marker of a personal encounter with the world, in an adventurous play with genre and a rewriting of myth, and in a bold confrontation with received notions of a woman’s place. Adventurousness marks the work of each of these poets and is a central focus of these essays.Table of ContentsBarbara GARLICK: Introduction 1 Virginia BLAIN: “Be these his daughters?” Caroline Bowles Southey, Elizabeth Barrett Browning and Disruption in a Patriarchal Poetics of Women’s Autobiography 2 Meg TASKER: Aurora Leigh: Elizabeth Barrett Browning’s Novel Approach to the Woman Poet 3 E. WARWICK SLINN: Elizabeth Barrett Browning and the Problem of Female Agency 4 Debra FRIED: In Daisy’s Lane: Variants and Personification in Emily Dickinson 5 Lori LEBOW: Emily Dickinson’s Epistolary Poetics: Text, Lies and Autobiography 6 Susan CONLEY: Burying the Medusa: Romantic Bloodlines in Christina Rossetti’s Gothic Epistle 7 Sharon BICKLE: A Woman of Women for “A Sonnet of Sonnets”: Exploring Female Subjectivity in Christina Rossetti’s “Monna Innominata” 8 C.C. BARFOOT: “Thus only in a dream”: Appetite in Christina Rossetti’s Poetry. 9. Barbara GARLICK: Defacing the Self: Christina Rossetti’s The Face of the Deep as Absolution 10 Tomoko TAKAGUCHI: Christina Rossetti in Secrecy: Revising the Poetics of Sensibility Notes on Contributors Index

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Book SynopsisThe present collection of essays is the outcome of the Oscar Wilde conference held at the Technical University of Dresden, 31 August - 3 September 2000. The papers cover a wide range of historical and comparative aspects: they look into the status of Wilde as poet, dramatist, essayist and intellectual during his own times as well as investigate the meaning of his work for subsequent writers and critics, thus, giving an outline of the Wildean history of literary reception, intellectual discourse and media transformation. Intellectually brilliant and challenging, Oscar Wilde had been a favourite of the late Victorians, performing the roles of the dandy and the poet of art for art's sake. However, due to his questioning of prevalent moral double standards and his insistence on the autonomy of art, he was indicted for gross indecencies, convicted, and sent to prison. Instead of being ostracised, he became a source of inspiration for writers and artists on the British isles as well as on the European continent. The papers in this volume explore such topics as Wilde's concepts of socialism and aestheticism, his fashioning of the femme fatale and of the dandy, his use of fashion and of simulation, his impact on modernism and postmodernism as well as on genres such as crime writing and fictional biography, and the influence of Wilde on writers such as James Joyce, W.B. Yeats, Joe Orton, Peter Ackroyd, Tom Stoppard, David Hare and Mark Ravenhill. Other papers focus on the reception of Wilde in Russia, former Yugoslavia, Hungary and Germany as well as on cinematic and Internet representations of Wilde. Critical and creative responses vary from the general to the specific – from traditional assessments to analyses of the arts of camp, parody, and pastiche; thus, indicative of the (sub)cultural appropriation of 'Saint Oscar' (Terry Eagleton).Table of ContentsPatrick Bridgwater: Some German Oscar Wildes Richard Corballis: Wild Essence of Wilde. Joyce’s Debt to Oscar in Ulysses John Dawick: Oscar’s Last First Night or The Impossibility of Exhausting Earnest Ines Detmers: Oscar’s Fashion. Constructing a Rhetoric of Androgyny Noreen Doody: ‘An echo of some one else’s music’. The Influence of Oscar Wilde on W.B. Yeats Kirby Farrell: Wilde and the Penalties of Modernism Anna-Christina Giovanopoulos: Wilde in the East. Processes of Mediation Ronald C. Griffin: The Trials of Oscar Wilde. The Intersection between Law and Literature Heike Haase: Oscar Wilde in Crime Literature Ann Heilmann: Wilde’s New Women. The New Woman on Wilde Beatrix Hesse: Stoppard’s Oscar Wilde – Travesty and Invention Christoph Houswitschka: Games Wilde Plays. Cinematic Wilde for the 1990s Jürgen Klein: Aesthetics of Coldness. The Case of Oscar Wilde Maria Kozyrewa: K. Balmont’s Translation of Oscar Wilde’s The Ballad of the Reading Gaol Lucia Krämer: Of Doormats and Iced Champagne. The Wilde Trials in Fictional Biography Stefan Lange: Wilde’s Concept of Love Krisztina Lajosi: The Reception of Oscar Wilde in Hungary. Translator as Critic – Critic as Artist – Translator as Artist Franz Meier: Oscar Wilde and the Myth of the Femme Fatale in Fin-de-Siècle Culture Michael Meyer: Wilde’s Lectures and Trials. The Imitation, Reproduction, and Simulation of Poses Martin Middeke: Oscar, the Proto-Postmodern? Peter Ackroyd’s The Last Testament of Oscar Wilde Anja Müller-Muth: Writing ‘Wilde’. The Importance of Re-Presenting Oscar Wilde in Fin-de-Millénaire Drama in English (Stoppard, Hare, Ravenhill) Fritz-Wilhelm Neumann: Wilde’s Afterlife in Cyberspace Annette Pankratz: Playing with Oscar – Camp as Textual Strategy in Adaptations of The Importance of Being Earnest by Orton, Fleming and Ravenhill Zvonimir Radeljkovic: Wilde as Moralist David Rose: Oscar Wilde. Socialite or Socialist? Catrin Siedenbiedel: Oscar Wilde’s ‘Critic as Artist’ and the ‘Artist as Critic’ in James Joyce’s Finnegans Wake Susanne Schmid: Byron and Wilde. The Dandy and the Public Sphere Waleska Schwandt: Oscar Wilde and the Stereotype of the Aesthete. An Investigation into the Prerequisites of Wilde’s Aesthetic Self-Fashioning

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Book SynopsisIn this compact but highly concentrated study, the author unites clinical and literary critical skills in an attempt to go beyond familiar psychological commentary on Henry James and conduct a detailed and rigorous psychoanalytic investigation into recurring and psychologically significant patterns in his major and minor fiction. Drawing freely on material from notebooks, letters, and other biographical sources, the volume centres on James's unconscious fantasies concerning the human body, mostly the damaged or incomplete human body. These core fantasies are firmly placed at the root of James's creativeness. While one of these fantasies of physical mutilation finds expression in the famous “obscure hurt” of James's late teens, the author develops a hypothesis concerning their much earlier history and their place in the larger psychological constellation of the James family. Accordingly, Henry James Senior, his wife Mary, together with William and Alice James, all figure largely in the intricate and perilous family context of Henry's creative activity. This book also includes original factual research, casting sidelights on matters such as the relation between James's early work and that of Dr Silas Weir Mitchell, and on the early history of psychoanalysis in the United States, including William James's meeting with Freud and his view of early psychoanalytic thinking, and Henry's contact as a patient with early psychoanalytic practitioners at the beginning of the twentieth century.Trade Review”Bailie’s study is of great value.” in: Miscelánea: a Journal of English and American Studies 24 (2001): pp.129-131Table of Contents1 Introduction 2 Preliminary Investigation “Theodolinde” 3 Case History “A Most Extraordinary Case” “The Jolly Corner” 4 Autopsy The Turn of the Screw 5 The Jameses and Psychoanalysis Appendix “The Case of George Dedlow” Bibliography Index

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Book SynopsisThis book presents a new and exciting theory of the modern French novel by developing the notion of the narrative as a “textual machine”. Many turn-of-the-century French novels thematically identified their means of narration through the various machines that they depicted. The narrative devices that were particularly important in this self-reflection included: the temporal order of the plot, the question of a narrative’s beginning and end, the hierarchy of narrative voices, and the techniques of the point of view. The question of mechanization became central on all these fronts. Has the novel become automated or machine-like? At the same time, the machine metaphors in the novels of Alfred Jarry, Emile Zola, Jules Verne, Villiers de l’Isle-Adam, Raymond Roussel combined the question of the narrative form with new ways to think about man’s relationship with technology and the cultural environment. The early modernist texts drew upon contradictory notions of technological promise and threat while they also depicted new forms of identity and behavior, related to or modeled after machines. These texts highlighted cultural assumptions concerning technological innovations and critiqued, mainly through parody and through various figures of man-machine fusion, the positivistic belief in progress. Such writers looked for evidence of advanced forms of consciousness arising out of encounters with new technology such as: telephones, trains, bicycles, telegraphy, phonographs and electricity. This volume will be of interest to anyone working in the field of modern French literary and cultural history. It will especially appeal to anyone intrigued with the origins of the modernist novel, the history of narrative forms, and the question of how the experience of new technology may be portrayed in literary texts.Table of ContentsAcknowledgements I Introduction: Monstrous Machines and Plotted Designs II The Copy of Consciousness and the Micro-Politics of the Narrative Form: Baudelaire, Huysmans, Dujardin III The Electric Narrative in Jules Verne’s Le Château des Carpathes and Paris au XXe siècle IV The Plot Engine in Emile Zola’s La Bête humaine V Narrative Lines of Desire in Villiers de l’Isle-Adam’s Future Eve VI The Work of Life in an Age of Mechanical Competition: Alfred Jarry’s Le surmâle VII Twice-Told Tales and Semiotic Translation in Raymond Roussel’s Novels References Index

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Book SynopsisEdmond de Goncourt’s four solo novels are not simply extensions of the Goncourt brothers’ joint project, but attempts to deviate from the Naturalism with which their name had come to be associated. By analysing paratexts, the relationship between documentation and fiction, as well as plot devices and themes, this study links the evolution of Goncourt’s fiction to wider literary debates surrounding Naturalism, Decadence and the renewal of the novel in fin de siècle France. In bringing Goncourt’s writings to an English-speaking public, it will be of interest to students and scholars of the literary history of late-nineteenth-century France.Table of ContentsAcknowledgements References I. Introduction Towards a New Novel II. Paratexts Titles: Novel Transformations Prefaces and Literary History III. Facts and Fictions Documentary Processes Les Frères Zemganno: Author as Acrobat La Faustin: Origins and Heredity Chérie: Female Documents IV. Language and Forms Plot Development Textual Voices Language and the Literary Field Natural and Artificial Expression V. Conclusion Conclusion Bibliography Index

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Book SynopsisHere for the first time is a book devoted exclusively to the topic of women’s autobiography in nineteenth-century France. Tracing the rise of autobiography in relation to women’s domestic confinement, Kathleen Hart demonstrates how Flora Tristan, George Sand, and Louise Michel transformed the genre. Inspired by Romantic socialism, each of these remarkable autobiographers links the story of her personal development to socio-historic change. In the wake of the 1830 Revolution, Tristan chronicles social unrest as she relates her progressive transformation into humanity’s “Woman Guide” in Peregrinations of a Pariah (1838). Writing in the aftermath of the 1848 Revolution, Sand consolidates her role as a mediator between the rich and the poor in Story of My Life (1854). A legend of the 1871 Paris Commune, Michel establishes herself as the poet and prophet of a mythical Revolution yet to come in her Memoirs (1886). Exploring the dynamic interplay between revolution and feminist acts of self-affirmation, Revolution and Women’s Autobiography in Nineteenth-Century France will appeal to scholars of history, French culture, literature, and women’s studies.Table of ContentsAcknowledgements Preface I Women, Revolution, and the French Autobiographical Tradition II Tracing New Routes: Flora Tristan’s Peregrinations of a Pariah III George Sand’s Quest For Solidarity in Story of My Life IV Living For Revolution: Louise Michel’s Memoirs Conclusion Works Cited Index

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Book SynopsisDe Quincey's Gothic Masquerade is what has long been needed, a study of Thomas De Quincey's Gothic and Gothic-related texts by a Germanist working on Gothic and specializing in Anglo-German literary relations. Variously identified as Gothic Hero, Gothic Parasite, and author of a Gothick sport, De Quincey is the dark horse of Gothicism, for while his work has, increasingly, been associated with Gothic, not one of the recent companions to Gothic so much as mentions his name. Definitions of what is meant by 'Gothic' have changed, of course, and are still evolving, claiming more territory all the time, but Gothic specialists also have their blind spots, of whom De Quincey is one. One reason for this state of affairs will be the fact that in his work the Gothic is interwoven with the German, to which modern English studies all too often turn a blind eye. In this timely study of his work in relation to Gothic convention the author addresses the question of De Quincey's reputed knowledge of German 'Gothic' Romantic literature and the related question of supposed German influences on his Gothic work, and shows that his fiction is not less but more original than has been thought. The texts examined are those on which, for better or worse, his reputation as a writer both of autobiography and of fiction depends. Focusing on the Gothic takes one to the heart of his literary masquerade, and more especially to the heart of his masked autobiographical enterprise. Gothic, because of its formulaic nature, represents a place where he belongs, a place where his sense of guilt can be seen as part of a wider pattern, thus countering his pariah self-image and enabling him to make some sort of sense of the Gothic ruin of his life. Addressed to all who are interested in De Quincey's work and its place in literary history, and to the many readers in the English and German-speaking worlds who share De Quincey's and the author's enthusiasm for Gothic, this book adds considerably to the scope of De Quincey studies, which it enables to move on from some of the main unanswered questions of the past.Trade Review”…an invaluable reference point for future studies…” in: The European Legacy, Vol. 11, No. 7, 2006Table of ContentsPreface Abbreviations 1. Early Gothic Reading 2. Teutophilia 3. Translations from the German 4. De Quincey and Gothic 5. Dream-Texts 6. Essays 7. Rifacimenti 8. Fictions 9. De Quincey and Kafka Bibliography Index

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Book SynopsisThis book explores fictional responses to the changing transport and urban infrastructure of nineteenth-century France, arguing that networks of movement (and an accompanying ‘culture of networks’) which had become firmly established by the time of the Second Empire constitute a privileged subject for representation, and that naturalist fiction in particular is that representation’s privileged form. Contextualizing the study’s critical focus by way of a brief historical outline of the development of infrastructural networks in nineteenth-century France and a delineation of the problematical parameters of French naturalism, Duffy examines literary representations of new forms and conceptualisations of movement, principally in works by Flaubert, Zola, and Maupassant. Other authors discussed include the Goncourt brothers, Huysmans, Baudelaire and Claretie. Literary texts are examined alongside a range of related scientific, sociological and medical texts. What emerges strikingly from consideration of these works and the discourses they – often subversively – incorporate, is that movement, central to nineteenth-century industrial society’s view of itself, is frequently perceived and presented self-deludingly in the idealised metaphorical terms of smoothly-functioning systems of perpetual motion, and that naturalist fiction, by exploiting to their full potential the same metaphors in its narratives, challenges this ‘anti-entropic’ vision.Table of ContentsAcknowledgments Author’s Note Introduction: ‘Le Grand Transit Moderne’ Chapter 1 A Complex Kind of Training : L’Éducation sentimentale, Modernity, and the Changing Phenomenology of Motion Chapter 2 An Evolutionary Naturalist Intertext: The Traffic Jam as Exemplary Taxonomic Motif Chapter 3 Haussmannization, Circulation and the Ideal City of Au Bonheur des Dames Chapter 4 Convulsions, Détraquement and the Circulus: Zola’s Dehystericisation of Prostitution Chapter 5 Beyond the Pressure Principle: Bestialisation, Anthropomorphism and the ‘Thermodynamic’ Death Instinct in Naturalist Fiction Chapter 6 Maupassant, Doxa and the Banalisation of Modern Travel Conclusion: ‘Ce Parasite Supplémentaire’ Bibliography Index

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Book SynopsisDrawing on a long-standing tradition of fictional images, British writers of the Romantic period defined and constructed Italy as a land that naturally invites inscription and description. In their works, Italy is a cultural geography so heavily overwritten with discourse that it becomes the natural recipient of further fictional transformations. If critics have frequently attended to this figurative complex and its related Italophilia, what seems to have been left relatively unexplored is the fact that these representations were paralleled and sustained by intense scholarly activities. This volume specifically addresses Romantic-period scholarship about Italian literature, history, and culture under the interconnected rubrics of ‘translating’, ‘reviewing’, and ‘rewriting’. The essays in this book consider this rich field of scholarly activity in order to redraw its contours and examine its connections with the fictional images of Italy and the general fascination with this land and its civilization that are a crucial component of British culture between the eighteenth and nineteenth centuries.Table of ContentsLaura BANDIERA and Diego SAGLIA: Introduction: ‘Home of the Arts! Land of the Lyre!’: Scholarly Approaches and Fictional Myths of Italian Culture in British Romanticism Setting the Scene: Literary and Cultural Intersections William SPAGGIARI: The Canon of the Classics: Italian Writers and Romantic-Period Anthologies of Italian Literature in Britain Gian Mario ANSELMI: Shelley and the Italian Lyrical Tradition Building the Past: Re-Approaching the Italian Literary Heritage Carla Maria GNAPPI: The Sunflower and the Rose: Notes Towards a Reassessment of Blake’s Illustrations of Dante Maria Cristina CIGNATTA: William Hazlitt and Dante as the Embodiment of ‘Power, Passion, Self-Will’ Silvia BORDONI: ‘The Sonnet’s Claim’: Petrarch and the Romantic Sonnet Luca MANINI: Charlotte Smith and the Voice of Petrarch Edoardo ZUCCATO: Writing Petrarch’s Biography: From Susanna Dobson (1775) to Alexander Fraser Tytler (1810) Laura BANDIERA: Wordsworth’s Ariosto: Translation as Metatext and Misreading Looking at Contemporary Italy: Mapping the Present Lilla Maria CRISAFULLI: Theatre and Theatricality in British Romantic Constructions of Italy Gioia ANGELETTI: ‘I Feel the Improvisatore’: Byron, Improvisation, and Romantic Poetics Serena BAIESI: The Influence of the Italian Improvvisatrici on British Romantic Women Writers: Letitia Elizabeth Landon’s Response Mauro PALA: Facets of the Risorgimento: The Debate on the Classical Heritage from Byron’s Childe Harold to Leopardi’s Canzone ad Angelo Mai Cecilia PIETROPOLI: The Tale of the Two Foscaris from the Chronicles to the Historical Drama: Mary Mitford’s Foscari and Lord Byron’s The Two Foscari Lia GUERRA: Mary Shelley’s Contributions to Lardner’s Cabinet Cyclopaedia: Lives of the Most Eminent Literary and Scientific Men of Italy Diego SAGLIA: ‘Freedom alone is wanting’: British Views of Contemporary Italian Drama, 1820-1830 Caroline FRANKLIN: Cosmopolitanism and Catholic Culture: Byron, Italian Poetry, and The Liberal Index

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Book SynopsisVictorian Literary Mesmerism examines the engagement between literature and mesmerism in Victorian writing. Drawing on recent trends in interdisciplinary literary scholarship the essays collected here investigate the complex connections between scientific mesmerism, its manifestations in the Victorian social and cultural world, and the literary imagination. Here, for the first time, the varied themes and contexts shaped by mesmeric practices are brought together in one volume. Mesmerism’s influence on phrenology, medicine and mental health; its interaction with the occult and with communication technologies; the effects of mesmeric principles on gender and sexuality, as well as on criminal behaviour, are all set within the context of literary texts that interrogate and critique mesmerism’s influence on the Victorians. This volume will be of interest, therefore, to scholars of Victorian literature and the history of science, as well as to those interested in cultural history with a focus on gender, sexuality, and sciences of the mind.Table of ContentsMartin WILLIS and Catherine WYNNE: Introduction Ilana KURSHAN: Mind Reading: Literature in the Discourse of Early Victorian Phrenology and Mesmerism Gavin BUDGE: Mesmerism and Medicine in Bulwer-Lytton’s Novels of the Occult Anthony ENNS: Mesmerism and the Electric Age: From Poe to Edison Louise HENSON: Mesmeric Delusions: Mind and Mental Training in Elizabeth Gaskell’s Writings Tiffany DONNELLY: Mesmerism, Clairvoyance and Literary Culture in Mid-Century Australia Angelic RODGERS: Jim Crows, Veiled Ladies and True Womanhood: Mesmerism in The House of the Seven Gables Martin WILLIS: George Eliot’s The Lifted Veil and the Cultural Politics of Clairvoyance Sharrona PEARL: Dazed and Abused: Gender and Mesmerism in Wilkie Collins Alisha SIEBERS: Marie Corelli’s Magnetic Revitalizing Power Mary Elizabeth LEIGHTON: Under the Influence: Crime and Hypnotic Fictions of the Fin de Siècle Catherine WYNNE: Arthur Conan Doyle’s Domestic Desires: Mesmerism, Mediumship and Femmes Fatales Notes on Contributors Bibliography Index

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Book SynopsisMontaging Pushkin offers for the first time a coherent view of Pushkin’s legacy to Russian twentieth-century poetry, giving many new insights. Pushkin is shown to be a Russian forerunner of Baudelaire. Furthermore it is argued that the rise of the Russian and European novel largely changed the ways Russian poets have looked at themselves and at poetic language; that novelisation of poetry is detectable in the major works of poetry that engaged in a creative dialogue with Pushkin, and that polyphonic lyric has been achieved. Alexandra Smith locates significant examples of Pushkin’s cinematographic cognition of reality, suggesting that such dynamic descriptions of Petersburg helped create a highly original animated image of the city as comic apocalypse, which followers of Pushkin appropriated very successfully even as far as the late twentieth century. Montaging Pushkin will be of interest to all students of Russian poetry, as well as specialists in literary theory, European studies and the history of ideas.Trade Review"Smith’s thesis is both startling and original: that Pushkin, for all his Mozart-like fluidity and perfection, can be productively read as a poet of pain and violence. His reflex was to respond to the totalizing, authoritative public landscape of his era with an equally severe but specifically private, individualizing, disciplined set of demands on the Poet. The recurring attention that later generations have paid toward those aspects of Pushkin’s life and texts governed by the private right to resist or to initiate violence (his duel, his struggles with the bureaucracy, his failed pursuit of service with honour) suggest that this mythologeme is among the most productive in Pushkin’s astonishing legacy" – Caryl Emerson, A. Watson Armour III University Professor of Slavic Languages and Literatures, Chair of the Slavic Department, Professor of Comparative Literature at Princeton University "Smith’s innovative study offers a wonderful analysis of how cinematographic editing and polyphony are detected in Russian twentieth-century poetry… It views Pushkin as a ‘référence obligée’ of contemporary urban poetry" – Véronique Lossky, Professor Emeritus of Russian Literature, Université de Paris-Sorbonne IVTable of ContentsAcknowledgements Introduction 1. From Pushkin’s poetics of exile to the concept of writing as 2. Pushkin’s Petersburg as comic apocalypse 3. 20th-century Pushkinian poetic responses to modernity & urban spectatorship 4. Modernity as writing: Pushkin readers & the Pushkin Myth 5. Conclusion Bibliography Additional Reading Index

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Book SynopsisThis comprehensive study of George Gissing’s short stories and related non-fiction is essential reading for students of nineteenth-century realism. For the first time readers will be able to follow the development which transformed Gissing’s unremarkable early stories into the very individual tales that elevated his work to the vanguard of realistic short fiction. Gissing’s American period is notable for its accumulation of themes that were repeatedly refined and adapted for his later work, causality emerging as the dominant voice. On his return to England, shifting political and philosophical beliefs expressed in his non-fiction had a vital impact on his second phase of short fiction, and the part played by realism in the author’s short stories and his writings on Charles Dickens added further dimensions to his work as a whole. By the final phase of Gissing’s remarkable development, it is evident that his interest in the concept of causality as the major force in his short work had been replaced by a more challenging preoccupation with the human psyche. This introduced philosophical, sociological and psychological dimensions to Gissing’s work that established him in the field of short fiction as a leading exponent of late nineteenth-century realismTable of ContentsChronology of the Short Stories Introduction Chapter One Exile in America Chapter Two A Promising Start Chapter Three The Formative Years Chapter Four A Time of Transition Chapter Five Changing Values Chapter Six The Place of Realism in Gissing’s Short Fiction Chapter Seven The Right Place at the Right Time Chapter Eight Gissing on Dickens Chapter Nine A Victim of Circumstances Chapter Ten Conclusion Bibliography Index

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Book SynopsisA travers tout le XIXe siècle, l’empire des tsars et ses habitants ont largement inspiré la production littéraire en France. Mais si des recherches se sont intéressées aux récits de voyages, aux journaux et aux correspondances, la Russie en tant qu’objet de la fiction est généralement jugée inintéressante car très éloignée de la réalité. Reposant sur l’analyse d’un corpus de cent textes environs, ce livre se propose de révéler toute la richesse de la Russie et des Russes imaginés par la fiction française du XIXe siècle – un imaginaire effectivement peu fidèle à la réalité russe, mais fortement influencé par le contexte historique des relations franco-russes dont il retrace les hauts et les bas. Trois stades d’évolution se dégagent entre la débâcle napoléonienne de 1812 et la Révolution russe de 1917. Pendant la première moitié du XIXe siècle, l’image de l’autre, du Russe, reprise au XVIIIe siècle se fragmente en plusieurs types. Entre 1855 et 1880 environs, ces types – le tsar, le prince, le Cosaque, le moujik, la femme-martyre et la séductrice – évoluent devant un arrière-plan également stéréotypé et forment un véritable univers imaginaire qu’auteurs et lecteurs identifient comme « russe ». Entre 1880 et 1917 enfin, l’harmonie de l’univers est passagèrement mise en cause par l’intrusion des nihilistes. Cependant, au même moment, de nombreux textes de la décadence recourent aux personnages russes parfaitement excessifs, et la littérature populaire diffuse abondamment le concept de l’âme slave.Table of ContentsIntroduction Première partie : L’émergence d’un universe russe dans l’imaginaire collectif français (1812-1855) 1. La Russie – un phénomène de la fiction française du XIXe siècle 2. De l’histoire russe à la fiction française 3. La création de la couleur locale « russe » 4. Une (in)vraisemblance « russe » : reprise et déformation des faits divers Deuxième partie : Les « Russes » – une typologie des extrêmes (1855-1880) 1. Le prince ou l’éducation du monstre 2. Le tsar, petit père ou autocrate ? 3. Le moujik, l’isvoschik et le Cosaque 4. La femme-martyre 5. La séductrice Troisième partie: Caricatures et poncifs : survivance et réinterpretation de l’univers imaginaire russe (1880-1917) 1. Drames d’amour et de nihilisme 2. Un abus de l’âme slave 3. Le mythe russe sur de nouveaux terrains Conclusion Bibliographie 1. Dictionnaires 2. Textes de référence 3. Ouvrages critiques Chronologie Index des auteurs Tables des matières

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Book SynopsisEn 1908, écrire « un essai sur Ste-Beuve et Flaubert » fait partie des projets de Proust. Certes, il y aura l’article de la NRF, en 1920, « À propos du “style” de Flaubert », mais l'essai annoncé ne verra jamais le jour. Proust aurait-il oublié son auteur de prédilection, celui qu'il imitait si bien dans ses pastiches ? Il n'en est rien. Flaubert est omniprésent dans l'œuvre proustienne mais toujours parfaitement dissimulé. Le dépouillement de la Correspondance, le déchiffrement des manuscrits – la démarche suivie est, en effet, celle de la critique génétique – permettent de transformer une impression de lecture en certitude. Au moment de la conception de son roman, Proust se trouve face à une actualité éditoriale qui met Flaubert à l'honneur. Lecture, relecture vont lui permettre de puiser, dans les œuvres de son prédécesseur, des motifs, des images, des noms, de construire ses personnages féminins, sa représentation de la société et de la création littéraire. À travers l'auteur de L’Éducation sentimentale, une esthétique, faite d'imitation mais aussi de dépassement, de transgression, se construit. Flaubert aura été le double de l'écrivain, réel et fictif, sans cesse tenu à distance.Trade Review"L’excellent livre de Mireille Naturel, lui-même nourri d’une vaste information, nous éveille à une lecture intertextuelle qui nous fait mieux comprendre la démarche créatrice de Proust." – in: Bulletin Marcel Proust 50 (2000) "Par une minutieuse étude des avant-textes en question Mireille Naturel réussit à confirmer bien des suggestions sur le rôle capital de Flaubert pour l’écriture proustienne." – in: Studia Neophilologica 72 (2000), 244Table of ContentsIntroduction Première Partie: Proust lecteur et critique de Flaubert I. L’actualité de Flaubert dans les années 1910 II. La correspondance de Proust III. Proust lecteur de par les champs et par les grèves IV. Les pastiches V. « À propos du “style” de Flaubert » et son avant-texte Deuxième Partie: « Les femmes » du narrateur I. Les métamorphoses de Marie-Maria-Albertine II. Gilberte et Louise: de l’observation à l’impression III. La duchesse de Guermantes et les Fleurs en Grappes IV. L’Apparition de Mme Swan et celle de Mme Arnoux Troisième Partie: Motifs Poétiques I. Le coquelicot de Combray II. Le soleil-ostensoir III. Le vitrail de l’église de Combray IV. Robert de Saint-Loup, oiseau lumineux Quatrième Partie: Du social et de l’esthétique I. Le Grand-Hôtel de Balbec II. Miss Sacripant et le danseur-pasticheur III. La partie d’écarté Cinquième Partie: La création littéraire I. La présence mystérieuse de Flaubert dans l’œuvre de Proust II. Les disparition de Flaubert III. Les expériences de résurrection du passé IV. Mise en abyme de la création littéraire Conclusion Bibliographie Index

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Book SynopsisThis book attempts for the first time a comparative literary history of Germany and the USA in the nineteenth and twentieth centuries. Its material does not come from the familiar overlaps of individual German and American writers, but from the work of the literary historians of the two countries after 1815, when American intellectuals took Germany as a model for their project to create an American national literature. The first part of the book examines fundamental structural affinities between the two literary histories and the common problems these caused, especially in questions of canon, realism, aesthetics and in the marginalization of popular and women’s writing. In the second part, significant figures whose work straddle the two literatures – from Sealsfield and Melville, Whitman and Thomas Mann to Nietzsche, Emerson and Bellow – are discussed in detail, and the arguments of the first part are shown in their relevance to understanding major writers. This book is not merely comparative in scope: it shows that only international comparison can explain the course of American literary history in the nineteenth and twentieth century. As recent developments in American Studies explore the multi-cultural and ‘hybrid’ nature of the American tradition, this book offers evidence of the dependencies which linked American and German national literary history.Table of ContentsPreface Part One: German and American Literary History Chapter 1: Introduction to National Literatures Chapter 2: The Early Years of German and American Literary History Chapter 3: Literary History and Democratic Nation Building Chapter 4: Democracy and Realism Chapter 5: Hunting for American Aesthetics Chapter 6: Exclusions from the Canon Chapter 7: Literary History and Anthropology Part Two: The Mid-Atlantic Space Chapter 8: The American Heart of Darkness: Charles Sealsfield and the West Chapter 9: American Idylls beyond Buffalo Bill Chapter 10: Emerson in the German and American Traditions Bibliography Index

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Book SynopsisThe present volume has as its primary aim readings, from a feminist perspective, of a number of works from Russian literature published over the period in which the ‘woman question’ rose to the fore and reached its peak. All the works considered here were produced in, or hark back to, a fairly narrowly defined period of not quite 20 years (1846-1864) in which issues of gender, of male and female roles were discussed much more keenly than in perhaps any other period in Russian literature. The overall project is summed up by the three key words of this book’s title, narrative, space and gender, and, especially, the interconnections between them. That is, what do the way these stories were told tell us about gender identities in mid-nineteenth-century Russia? Which spaces were central to these fictional worlds? Which spaces suggested which gender identities? The discussions therefore focus on issues of narrative and space, and how they acted as ‘technologies of gender’. This volume will be of interest to all interested in nineteenth-century Russian literature, as well as students of gender, and of the semiotics of narrative space.Trade Review"… clearly the product of careful research, sustained thought and an admirable ability to apply the theoretical ideas of Mikhail Bakhtin…" – in: SEER 87/1 (January 2009) "…a series of essays that are both insightful and stimulating. This volume will make a useful addition to the existing body of work exploring narrative and gender issues in nineteenth-century Russian literature." – in: Slavic and East European JournalTable of ContentsIntroduction The Seduction of the Daughter: Sexuality in the Early Dostoevskii and the Case of Poor Folk ‘Same Time, Same Place’: Chronotope and Gender in Dostoevskii’s White Nights The Matriarchal World in Nadezhda Sokhanskaia’s A Conversation After Dinner ‘There’s no place like home’: Narrative, Space and Gender in Family Happiness ‘A Room of One’s Own’, Part I: Narrative, Space and Gender in The Boarding-School Girl A Sense of Place: Narrative, Space and Gender in Notes from the Underground ‘A Room of One’s Own’, Part II: Narrative, Gender and Space in The Fiancée Bibliography Index

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Book SynopsisLeaving Parnassus: The Lyric Subject in Verlaine and Rimbaud considers how the crisis of the lyric subject in the middle of the nineteenth century in France is a direct response to the aesthetic principles of Parnassian poetry, which dominated the second half of the century much more than critics often think. The poets considered here rebel against the strict confines of traditional and contemporary poetry and attempt to create radically new discursive practices. Specifically, the close readings of poems apply recent studies of subjectivity in poetry and focus on the works of Paul Verlaine and Arthur Rimbaud to see how each subverts the dominant tradition of French poetry in a unique way. Whereas previous studies considered isolated aspects of each poet’s lyric subject, Leaving Parnassus shows that the situation of the lyric is a source of subversion throughout the poets’ entire work, and as such it is crucial to our full understanding of their respective innovations.Table of ContentsAcknowledgments Introduction Chapter One: The Dominance of Parnassian Poetry Chapter Two: Verlaine’s Identities Chapter Three: Rimbaud, Beyond Time and Space Conclusion Bibliography Index

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Book SynopsisFor poets throughout the world Rome was the world. This is particularly true for Russian poets, owing to the anagrammatical relation of the words Rome and mir (Rome and world). The legacy of ancient Rome has always constituted an important component of the Russian cultural consciousness. The revitalization of classical scholarship in nineteenth-century Russia and new approaches to antiquity prompted many of the Russian Symbolists to seek their inspiration in ancient Rome. Vladimir Solovyov, Dmitry Merezhkovsky, Valery Bryusov, Vyacheslav Ivanov, Maksimilian Voloshin, Vasily Komarovsky, and Mikhail Kuzmin all made significant contributions to what is often referred to as the “Roman text.” The Legacy of Ancient Rome in the Russian Silver Age analyzes the forms involved in creating the Roman image and explores its functionality within the given poetic system. In addition to the formal analysis, the background and the stimulus leading up to the composition of a particular poem are explored, as well as allusions to legends, myths and Rome’s geography and architecture. Moreover, this study considers the function of the Roman text in Russian Symbolist poetics and the works of the individual poets. Finally, the relation between the Roman and Petersburg texts of Russian literature is explored, since many of the Russian Symbolist poets found in Rome a perfect metaphor for their studies of the city and “urban” poetry.Trade Review”This thoughtful and well-researched manuscript is an important contribution to several fields: 19th- and 20th-century Russian literature and philosophy, Classics and literary history. Many 20th-century Russian writers employ comparisons between 20th-century Russia and the Roman Empire, but this study is the first in-depth look at the basis for this all pervasive theme … Since the end of the Soviet Union the Symbolist period has become one of primary interest for Russians as they attempt to investigate elements of their pre-Soviet identity. The writers whose works are included here represent some of the most sophisticated and erudite in the whole of Russian literature, but many of them were, until recently […] little studied or looked at through a distorting political prism.” – Carol Ueland, Professor of Russian Literature, Drew UniversityTable of ContentsAcknowledgments Note on Transliteration Introduction: Off to Rome… I. Departing from Stylization Apollon Maikov II. The Forum of Forgotten Thoughts Arseny Golenishchev-Kutuzov III. And a Fourth Shall Never Be… Vladimir Solovyov IV. The Contradictions of the Northern Pilgrim Dmitry Merezhkovsky V. Julius Caesar, Antony and Sulla Valery Bryusov VI. The God-Loving Roman Vyacheslav Ivanov VII. From Prophecy to Transubstantiation Maksimilian Voloshin VIII. The Quest for Pax Romana as a Quest for Peace of Mind Vasily Komarovsky IX. The Distant Eternal City Mikhail Kuzmin X. Conclusion: «Как сделан Рим»? (How Is Rome Made?) Bibliography Index

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Book SynopsisPierre Loti and the Theatricality of Desire offers an original analysis of patterns of unconscious desire observable in the life and work of the French orientalist writer Pierre Loti. It aims to reconcile attitudes and conduct that have been regarded as contradictory and not amenable to analysis by locating the unconscious urges that motivate them. It looks at the ambiguous feelings Loti expresses towards his mother, the conflicting desires inherent in his bisexuality, and his deeply ambiguous sense of a cultural identity as expressed through his cross-cultural transvestism. The political implications of this reappraisal are also considered, offering a potential reassessment of the apparently exploitative nature of much of Loti's writing. This new reading in terms of the unconscious not only serves as a way of understanding inconsistencies, but also suggests how such new interpretations can offer an alternative way of viewing the hierarchies of power his work portrays on both a sexual and political level. This volume is consequently of interest to those interested in gender studies and sexual politics, and offers a way of appreciating writing that might otherwise appear dated and embarrassingly sexist and colonialist in content to twenty-first century readers.Table of ContentsPreface Chapter 1 Theatricality Chapter 2 The Cast Chapter 3 The Stage Chapter 4 The Wardrobe Chapter 5 The Audience General Bibliography Bibliography of Texts by and on Loti

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Book SynopsisThe present volume has as its central aim a reassessment of the works of Ivan Turgenev for the twenty-first century. Against the background of a decline in interest in nineteenth-century literature the articles gathered here seek to argue that the period in general, and his work in particular, still have much to offer the modern sensibility. The volume also offers a great variety of approaches. Some of the contributors tackle major works by Turgenev, including Rudin and Smoke, while others address key themes that run through all his creative work. Yet others address his influence, as well as his broader relationship with Russian and other cultures. A final group of articles examines other key figures in Russian literary culture, including Belinskii, Herzen and Tolstoi. The work will therefore be of interest to students, postgraduates and specialists in the field of Russian literary culture. At the same time, they will stand as a tribute to the life and work of Professor Richard Peace, a long-standing specialist in nineteenth-century Russian literature, in whose honour the volume has been compiled.Trade Review”With his indepth, yet highly readable explorations of Turgenev’s writings and his cultural milieu, Turgenev and Russian Culture will prove useful for both specialists and general audiences.” in: Slavic and East European Journal 53.4 (Winter 2009)Table of ContentsDerek OFFORD: Richard Peace: An Appreciation Joe ANDREW: Introduction: Turgenev and Russian Culture Joe ANDREW: Death and the Maiden: Narrative, Space, Gender and Identity in Asia Michael BASKER: ‘The Poetry of Moscow Existence’: An Analysis of N.M. Iazykov’s Spring Night A.D.P. BRIGGS: Did Carmen really come from Russia (with a little help from Turgenev)? Leon BURNETT: Turgenev and the Sphinx Boris CHRISTA: A ‘Buttoned-up’ Hero of His Time: Turgenev’s Use of the Language of Vestimentary Markers in Rudin Ruth COATES: Mystical Union in the Philosophy of Vladimir Solovev Neil CORNWELL: First Loves and Last Rites: from Ivan Turgenev to John Banville Eric De HAARD: The Uses of Poetry in Turgenev’s Prose: A Quiet Spot Ros DIXON: ‘The avant-garde, you know, can easily become the rearguard. All it takes is a change of direction.’ Anatolii Efros’ Production of A Month in the Country: A Dialogue with Stanislavskii. Charles ELLIS: Tolstoi: Great Men and the Mathematical Mechanics of History Cynthia MARSH: Post-War British Month (s) in the Country Derek OFFORD: Worshipping the Golden Calf: the Intelligentsia’s Conception of the Bourgeois World in the Age of Nicholas Richard PEACE: The Dark Side of Turgenev Robert PORTER: The Paradoxes of Parody: Notes on the Art of Mikhail Zoshchenko and Evgenii Popov Michael PURSGLOVE: Dulcis fumus patriae: Tiutchev, Turgenev and Smoke Robert REID: A Hunter’s Sketches: A Peircean Perspective Alexandra SMITH: Nostalgic Visions and Mnemonic Figures: Tsvetaeva’s Allusions to Ivan Turgenev’s Goethian Outlook Claire WHITEHEAD: Ivan Turgenev’s Phantoms: The Spectre of Hesitation Richard Peace’s Publications: Compiled by Derek OFFORD

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Book SynopsisIn this volume of SSLP the contributions of Dutch scholars working in the field of Slavic literature and culture to the 14th International Congress of Slavists (Ohrid, Macedonia, September 10–16, 2008) are brought together. All of them except one (on the Polish poet Cyprian Norwid’s story Stigma), deal with Russian literature from the end of the 18th century up to recent years. A variety of topics is treated, such as the feminization of Russian literature, the reflection of poetry in prose, anthropological and religious dimensions of literature, the specifics of theme and of plot, Russian modernism and postmodernism, and the status of language, from different methodological angles: gender studies, structural analysis, philosophical-contextual, postcolonial. Works of such Russian authors as Ippolit Bogdanovich, Ivan Turgenev, Pavel Mel’nikov-Pecherskii, Ignatii Potapenko, Iurii Trifonov, Timur Kibirov and Viktor Pelevin are discussed in detail. This volume is of interest for a scholarly audience interested in Russian literature of the last 250 years.Table of ContentsThera GIEZEN: Lap-dogs, or the Feminization of Russian Literature Eric DE HAARD: Love of Poetry and Literary Creation in Turgenev’s First Love Willem G. WESTSTEIJN: The Structure of the Plot in the Novels of Pavel Mel’nikov-Pecherskii Arent VAN NIEUKERKEN: Stigma, a Short Story of Cyprian Kamil Norwid. In Search of Traces of Sacred History on the Surface of the World Otto BOELE: “New Times Require New People”. The Demise of the Epoch-making Hero in Late Nineteenth-Century Russian Literature Dennis IOFFE: Russian and European Modernism and the Idea of Life-Creation Joost VAN BAAK: The House of Socialism in Literature. Trifonov’s House on the Embankment Ellen RUTTEN: Strategic Sentiments. Pleas for a New Sincerity in Post-Soviet Literature Boris NOORDENBOS: Copy-writing Post-Soviet Russia. Viktor Pelevin’s work in Postcolonial Terms Sander BROUWER: What Is It Like to Be a Bat-Author? Viktor Pelevin’s Empire V Index

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Book SynopsisFrom Sade at one end of the nineteenth century to Freud at the other, via many French novelists and poets, pleasure and pain become ever more closely entwined. Whereas the inseparability of these themes has hitherto been studied from isolated perspectives, such as psychoanalysis, sadism and sado-masochism, melancholy, or post-structuralist textual jouissance, the originality of this collaborative volume lies in its exploration of how pleasure and pain function across a broader range of contexts. The essays collected here demonstrate how the complex relationship between pleasure and pain plays a vital role in structuring nineteenth-century thinking in prose fiction (Balzac, Flaubert, Musset, Maupassant, Zola), verse and the memoir as well as socio-cultural studies, medical discourses, aesthetic theory and the visual arts. Featuring an international selection of contributors representing the full range of approaches to scholarship in nineteenth-century French studies – historical, literary, cultural, art historical, philosophical, and sociopolitical – the volume attests to the vitality, coherence and interdisciplinarity of nineteenth-century French studies and will be of interest to a wide cross-section of scholars and students of French literature, society and culture.Table of ContentsList of Illustrations David EVANS and Kate GRIFFITHS: Introduction Part I: The Novel Henri MITTERAND : Jouir / souffrir: le sensible et la fiction Michael TILBY: Balzac’s Convivial Narrations: Intoxication and its Discourse in ‘La Comédie humaine’ Francesco MANZINI: The Zero-Sum Game of Providential Pain: Balzac’s L’Envers de l’histoire contemporaine Part II: Crime and Punishment Anne-Emmanuelle DEMARTINI : L’Affaire Lacenaire ou les jouissances de l’exhibitionnisme criminel au temps du romantisme Loïc GUYON : Le sex-appeal de la Veuve: guillotine et fantasmes romantiques Natalia LECLERC : Le ‘bonheur dans le crime’: le plaisir de perdre et de se perdre chez Barbey d’Aurevilly Part III: Écritures féminines Anna NORRIS : Marie Cappelle Lafarge ou l’écriture de la douleur Sara JAMES: Malvina Blanchecotte and ‘la douleur chantée’: the Creation of a Female Poetic Self Rachel MESCH: Sexual Healing: Power and Pleasure in Fin-de-siècle Women’s Writing Part IV: Defining Sexual Experience Gretchen SCHULTZ : La Rage du plaisir et la rage de la douleur: Lesbian Pleasure and Suffering in Fin-de-siècle French Literature and Sexology Alison MOORE: Pathologizing Female Sexual Frigidity in Fin-de-siècle France, or How Absence Was Made into a Thing Elizabeth STEPHENS: Redefining Sexual Excess as a Medical Disorder: Fin-de-siècle Representations of Hysteria and Spermatorrhoea Part V: Aesthetics, Beauty and the Visual Arts Rae Beth GORDON: What is Ugly? Taine, Allen, Moreau Carol RIFELJ : ‘Il faut souffrir pour être belle’: Pain and Beauty in Prose Fiction Claire MORAN: Creative Crucifixions: The Artist as Christ in Nineteenth-Century France and Belgium Notes on Contributors Index

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Book SynopsisEcrasez l’infâme! Voltaire’s rallying cry against fanaticism resonates with new force today. Nothing suggests the complex legacy of the Enlightenment more than the struggle of superstition, prejudice, and intolerance advocated by most of the Enlightenment philosophers, regardless of their ideological differences. The aim of this book is to undertake a reconsideration of the controversies surrounding the questions of religion, toleration, and fanaticism in the eighteenth century through an examination of Rousseau’s dialogue with Voltaire. What come to light from this confrontation are two leading and at times competing world views and conceptions of the place of the engaged writer in society.Table of ContentsAcknowledgments Editors’ Preface Notice on citations and abbreviations Voltaire, Rousseau, and L’infâme Raymond TROUSSON : Tolérance et fanatisme selon Voltaire et Rousseau The victims of fanaticism J. Patrick LEE: The condemnation of fanaticism in Voltaire’s Sermon du rabbin Akib Anne-Marie MERCIER-FAIVRE : Du Traité sur la tolérance de Voltaire aux Lettres écrites de la montagne de Rousseau: Variations sur la victime du fanatisme Ourida MOSTEFAI : Singularité et exemplarité du cas “Jean-Jacques”: théorie et expérience du fanatisme chez Rousseau Religion against intolerance John T. SCOTT: Pride and providence: Religion in Rousseau’s Lettre à Voltaire sur la providence Christopher BERTRAM: Toleration and pluralism in Rousseau’s civil religion Bruno BERNARDI : La religion civile, institution de tolérance? Fanaticism, cruelty, and pity Christopher KELLY: Pious cruelty: Rousseau on Voltaire’s Mahomet Jeremiah L. ALBERG: Preventing fanaticism through transcendental violence: The second part of the “Profession de foi” Zev TRACHTENBERG: Civic fanaticism and the dynamics of pity Atheism and toleration Philip STEWART: Are atheists fanatics? Variations on a theme of Locke and Bayle John Hope MASON: At the limits of toleration: Rousseau and atheism Rousseau and l’Infâme revisited Jean-François PERRIN : Penser l’hégémonie: intolérance et Lumières dans Rousseau juge de Jean-Jacques Michel SCHMOUCHKOVITCH : Portrait d’un fanatique? Jean-Jacques en Diogène Note on contributors Index

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Book SynopsisWomen Write Back explores the late eighteenth- and early nineteenth-century women’s responses to texts written by well-known Enlightment figures. Hilger investigates the authorial strategies employed by Karoline von Günderrode, Ellis Cornelia Knight, Julie de Krüdener, and Helen Maria Williams, whose works engage Voltaire’s Mahomet, Johnson’s Rasselas, Goethe’s Werther, and Rousseau’s Julie. The analysis of these women’s texts sheds light on the literary culture of a period that deemed itself not only enlightened but also egalitarian.Trade Review”[…] Happily, one of the strengths of Hilger’s impressively-argued and well-researched study is that it persuasively shows how literary invention and political intervention are often inextricably intertwined and that blindness to one can mean blindness to the other.” - James Corby, University of Malta, in: The European Legacy, Vol 17.7 (2012) pp. 948-963Table of ContentsIntroduction: Women Write Back Gender and Genre: Helen Maria William’s Julia, a Novel Adventurous Tales: Ellis Cornelia Knight’s Dinarbas; a Tale: Being a Continuation of Rasselas, Prince of Abissinia Staging Islam: Karoline von Günderrode’s Mahomed, der Prophet von Mekka The Letter and the Body: Julie de Krüdener’s Valérie Conclusion: Writing Back, Reading Forward Bibliography

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Book SynopsisThis volume examines the multifaceted ways in which textual material in nineteenth-century European cultures intersected with non-literary cultural artefacts and concepts. The essays consider the presence of such diverse phenomena as the dandy, nationhood, diasporic identity, operatic and dramatic personae and effects, trapeze artists, paintings, and the grotesque and fantastic in the work of a variety of writers from France, Germany, Spain, Britain, Russia, Greece and Italy. The volume argues for a view of the long nineteenth century as a century of lively cultural dialogue and exchange between national and sub-national cultures, between ‘high’ and popular art forms, and between different genres and different media, and it will be of interest to general readers and scholars alike.Table of ContentsAcknowledgements Rachael Langford: Introduction: Intertextual, Intermedial, Intersections Eduardo Ralickas: Figuring the Artistic Subject: a Genealogy of Nineteenth-Century Dandyism Sarah Hibberd: Monsters and the Mob: Depictions of the Grotesque on the Parisian Stage, 1826-1836 Birgit Haas: Staging Colours: Edward Gordon Craig and Wassily Kandinsky Gustav Frank: Symptoms of Epistemological Change: Intersections with Music and the Visual Arts in the German Novel of the Long Nineteenth Century Ricarda Schmidt: How to Get Past Your Editor: E.T.A. Hoffmann’s Don Juan as a Palimpsest Andrew Ginger: Fragments and Time: Aspects of Revolutionary Change, Literature and Painting in Spain (1790-1870) Steffan Davies: Geschichte Wallensteins: Ranke’s Problem of Narrative – and Schiller’s Solution? David Scott: Generical Intersections in Nineteenth-Century French Painting and Literature: Manet’s La Musique aux Tuileries and Baudelaire’s Petits Poèmes en prose Albert Boime: Manet's A Bar at the Folies-Bergère as an Allegory of Nostalgia Mairi Liston: Theatrical Intersections: an Entry from the Goncourts’ Journal, 1 March 1862 Katherine Ashley: Literary Acrobatics: Edmond de Goncourt’s Les Frères Zemgano Deirdre O’Grady: Decapitation, Dissection and Symbolic Deformity: the Crisis of Italian Romanticism: Hugo, Piave and Boito Guiliana Pieri: The Effect of the Pre-Raphaelites on the Cultural Consciousness of D’Annunzio Eda Dobrovetsky: Jewish Motifs in Mid-Nineteenth Century Russian Music, Art and Art Criticism Anastasia Siopsi: Dreaming the Myth of ‘Wholeness’: Romantic Interpretations of Ancient Greek Music in Greece (1890-1910) Marion Schmid: Proust and the Fantastic: Metaphor, Metamorphosis and the Visual Arts Notes on Contributors Index of Proper Names

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Book SynopsisStrindberg and the Quest for Sacred Theatre brings a fresh perspective to the study of Sweden’s great playwright. August Strindberg (1849-1912) anticipated most of the major developments in European theatre over the last century. As such he is well-placed to provide perspectives on the current burgeoning interest in sacred theatre. The religious crises of the 19th Century provoked in Strindberg both sharp scepticism about claims to religious authority and a visionary search for truth. Against the backdrop of a major change in European culture this book traces the emergence in some of Strindberg’s late plays of a proto-sacred-theatre. It argues that Strindberg faced the alternatives of a contentless transcendent abyss, threatening the extinction of his ego, or a retreat into conservative theism, reducing him to slavish submission to the commandments and rule of an external father-God. Weaving together theatrical, aesthetic, and theological voices, this book investigates the relationship of the sacred to subjectivity and its implications for Strindberg’s dramaturgy. In doing so it always keeps in view the sense both of loss and opportunity engendered by a turning point in the western experience of the sacred.Table of ContentsA Note on Strindberg Texts Acknowledgments Introduction Salvation and Subversion in To Damascus Incarnation and Liberation in A Dream Play Illusion and the Void in four Chamber Plays The Reversal of Dante in The Great Highway Conclusion Appendix: Kierkegaard, Brand and Master Olof Bibliography Names Index

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Book SynopsisThis book is the first complete study of the translations of Machiavelli’s Prince made in Europe and the Mediterranean countries during the period from the sixteenth to the first half of the nineteenth century: the first, unpublished French translation by Jacques de Vintimille (1546), the first Latin translation by Silvestro Tegli (1560), as well as the first translations in Dutch (1615), German (1692), Swedish (1757) and Arabic (1824). The first translation produced in Spain - dated somewhere between the end of the sixteenth and the early seventeenth century - remained in manuscript form, while there was a second vernacular Spanish version around 1680. The situation in Great Britain was different from the rest of Europe, as it could boast four manuscript translations by the end of the sixteenth century.Trade Review”This enterprising research project has had a highly successful beginning, and we can look forward with keen interest to its second stage.” - John Roe (York), in: ARCHIV 248.2, 2011, pp. 376-8Table of ContentsJacob Soll: Introduction: Translating The Prince by Many Hands Roberto De Pol: Translation and Circulation: Introduction to a research project Nella Bianchi Bensimon: La première traduction française Caterina Mordeglia: The first Latin translation Alessandra Petrina: A Florentine Prince in Queen Elizabeth’s court María Begoña Arbulu Barturen: La primera traducción española Francesca Terrenato: The first Dutch translation Serena Spazzarini: The first German translation Paolo Marelli: The first translation in Scandinavia Arap El Ma’ani: The first Arabic translation Appendix Chronological Summary Distribution of Manuscripts and Printings Comparison of Selected Passages The Introduction to the first Arabic translation Index

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Book SynopsisBouvard et Pécuchet, œuvre posthume et inachevée de Flaubert, présente la particularité d’être ostensiblement encyclopédique. Les deux protagonistes parcourant presque toutes les sections des connaissances humaines de l’époque, le texte romanesque se trouve saturé d’innombrables extraits prélevés sur les ouvrages les plus divers. La rédaction de cet étrange roman a en effet requis un travail considérable de documentation, comme en témoignent les dossiers documentaires qui comprennent notamment une importante masse de notes de lecture prises par l’écrivain au fil de ses lectures préparatoires. Flaubert épistémologue a pour objet l’examen précis et attentif du travail documentaire effectué par le romancier. Elle est centrée sur l’une des disciplines-phares de l’« encyclopédie critique en farce », la médecine, dont il est question au chapitre III du roman, et qui est d’un intérêt majeur, en ce sens qu’elle entretenait au XIXe siècle un rapport étroit avec la littérature. L’étude approfondie des notes que l’auteur de Bouvard a prises sur la médecine permettra d’éclairer l’interférence des deux pratiques discursives, médicale d’une part, littéraire de l’autre. C’est ainsi que l’on pourra restituer à l’entreprise esthétique de Flaubert sa véritable portée critique et épistémologique, et par là même, saisir le roman dans sa dimension dialogique.Table of ContentsIntroduction: Le roman comme mode d’interrogation critique Flaubert et la médecine La portée critique du roman encyclopédique Comique de la médecine Flaubert contre la médecine expérimentale Contradictions de la médecine Exposition critique d’un paradigme médical Corps et mots: l’hygiène comme champ de contradictions Style et idéologie Conclusion: Éthique de l’écriture Index des transcriptions Bibliographie

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Book SynopsisExplosive Narratives: Terrorism and Anarchy in the Works of Emile Zola explores the genealogy of modern day terrorism through a close study of the anarchist figure in three of Emile Zola’s novels: Germinal, Paris, and Travail. The study links the crisis of representation registered at the end of the 19th century with the rise of terrorism embodied in the bomb-throwing anarchist. It thereby traces Zola’s evolving thoughts on anarchy from the terrorist to the humanitarian reformer, from class warfare to a peaceful artisan commune, from a naturalist depiction of an elusive reality to a utopian writing fleeing the contingencies of the historical. The volume brings together aesthetic, political, urban, and scientific debates of Belle Epoque France and it will thus be of great interest not only to Zola scholars, but also to students of late 19th-century politics and art.Table of ContentsAcknowledgments Introduction: Anarchy, Entropy, Naturalism Anarchy Entropy Naturalism Chapter 1: Souvarine’s Vanishing Act: The Effacement of Anarchy in Germinal The Ambiguous Politics of Germinal The Resurgence of Anarchy from the Underground Mine Undermining Narratives: The Sub-text of Anarchy Chapter 2: Anarchy as Narrative Capital: The Emplotment of Terrorism in Paris The Political Discourse in Paris Anarchy as Narrative Capital Towards Utopia: Taking the Bite Out of Anarchy Chapter 3: The Anarchic Commune as World’s Fair in Travail Ideological Welding: Fourier and Anarchism Revolutionary Rape as Entropic Heat Death Beyond Narrative Entropy: Utopia The Anarchic Commune as World’s Fair Epilogue: Zola’s Dream Bibliography Index

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Book SynopsisTurgenev is in many ways the most enigmatic of the great nineteenth-century Russian writers. A realist, he was nevertheless drawn towards symbolism and the supernatural in his later career. Renowned for his authentic depictions of Russian life, he spent long periods in Europe and was more Western in outlook than many of his contemporaries. Though he stood aloof from politics, the major political issues of nineteenth-century Russia are central to his fiction. Interest in Turgenev remains strong in the twenty-first century, sustained by the amenability of his work to contemporary critical approaches and also by a recognition of the continuing relevance of his perspective on the perennial complexities of Russia’s relations with Europe. This volume provides ample evidence of this interest. The chapters which comprise it are written by specialists on the writer and cover many aspects of Turgenev’s creativity from his artistic method to such issues as the Jewish Question and Europe. It also examines his cultural legacy - in film and recent popular re-writes of his novels - as well as his influence on writers as diverse as Rozanov and Robert Dessaix. This work will be of interest to students, postgraduates and specialists in the field of Russian literary culture.Trade Review"This large diverse collection of papers presented at a conference at Mansfield College, Oxford, in 2006 adds welcome weight to the accumulating scholarship on Turgenev. […]The volume begins strongly with an intriguing piece by Irene Masing-Delic on a repeated scenario of transgression into hidden or forbidden spaces in Turgenev’s short prose." – Dale E. Paterson, Amherst College, in: Slavic and East European Journal 56/3 (2012), pp. 461-463 "Overall, this is a stimulating collection, which will appeal both to Turgenev specialists and the general Slavist reader." – in: The Russian Review 70/3 (July 2011), p. 505Table of ContentsPreface Notes on Contributors Robert Reid: Introduction: Turgenev: Art, Ideology and Legacy Turgenev’s Art Irene Masing-Delic: Hidden Spaces in Turgenev’s Short Prose: What They Conceal and What They Show Steven Brett Shaklan: ‘So Many Foreign and Useless Words!’: Ivan Turgenev’s Poetics of Negation Joost van Baak: Turgenev-Bricoleur: Observations on the World of Turgenev’s Sketches from a Hunter’s Album Sander Brouwer: First Love, but not First Lover: Turgenev’s Poetics of Unoriginality Erica Siegel: Speak Softly and Carry a Big Stick: The Language of Things in Fathers and Sons Willem G. Weststeijn: The Description of the Appearance of Characters in Turgenev’s Novels (in particular Fathers and Sons) Turgenev’s Ideology Kathryn Ambrose: Turgenev’s Representation of the ‘New People’ Richard Freeborn: No Smoke without a Bit of Fire Elena Katz: Turgenev and the ‘Jewish Question’ Greta Slobin: Turgenev Finds a Home in Russia Abroad Turgenev’s Legacy Justin Weir: Turgenev as Institution: Sketches from a Hunter’s Album in Tolstoi’s Early Aesthetics Henrietta Mondry: A Wrong Kind of Love - A Teacher of Sex on a Teacher of Love: Vasilii Rozanov on Turgenev and Viardot Otto Boele: After Death, the Movie (1915) - Ivan Turgenev, Evgenii Bauer and the Aesthetics of Morbidity Rachel Morley: Performing Femininity in an Age of Change: Evgenii Bauer, Ivan Turgenev and the Legend of Evlaliia Kadmina Kevin Windle and Rosh Ireland: Turgenev’s Antipodean Echoes: Robert Dessaix and his Russian Mentor Olga Soboleva and Pogos Saiadian: Ivan Sergeev, Fathers and Sons: The Phenomenon of the Nouveau-Russian Novel

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Book SynopsisThe French Revolution of 1789 altered the face of power and the institutions it inhabited in France, and the aftershocks of this seismic change rippled throughout the nineteenth century. With power changing hands between monarchy, empires and republics in quick succession, the nature of power, both personal and political, and institutions, both real and metaphorical, was constantly being redefined, argued over and fought for. This volume provides innovative analyses of nineteenth-century power relations in France across a series of interlinked spheres: artistic, literary, cultural, political, scientific and topographical. Its seventeen chapters trace the direct impact of politics and the shifting power of regimes on the creative arts, and explore power relations in a wide range of contexts including novels, sculpture, painting, education, religion, science, museums and exhibitions across a wide geographical area from Paris to the provinces, southern France and the colonies. The contributors, all experts in their fields, assess the evolving relationship between institutions and power in nineteenth-century France, exploring how the nation debates its past, negotiates its present and, as the foundation of the Third Republic ushers in a period of relative stability, sets about creating its common future.Table of ContentsList of illustrations David Evans and Kate Griffiths: Introduction Political Power: Legacies and Myths Nicole Mozet: Balzac, Théoricien du pouvoir absolu et romancier du chaos post-révolutionnaire Damian Catani: The French Revolution: Historical Necessity or Historical Evil? Terror and Slavery in Hugo’s Quatrevingt-treize and Confiant’s L’Archet du colonel Jean-Marie Seillan: Institutions et pouvoirs occultes: Huysmans et l’imaginaire conspirationniste Janice Best: Les Hommes de bronze de la Troisième République: Commémoration ou oubli de l’histoire? Power and Space Elisabeth Gerwin: Power in the City: Balzac’s Flâneur in La Fille aux yeux d’or Claire I.R. O’Mahony: The Colony Within? Poets and the Politics of Particularism in Toulouse’s Capitole Anne-Emmanuelle Demartini: Le Pouvoir de la représentation: Écriture pittoresque et construction de la nation dans la série provinciale des Français peints par eux-mêmes Leonard R. Koos: Razzia in Stone: Building Colonial Algiers, 1830-1900 Institutions and Knowledge Francesco Manzini: Doctors, Priests, Magistrates: Stendhal, Cabanis and the Power of Medical Practitioners Rosemary Lloyd: The Crocodiles of Caen and the Molluscs of the Museum: Rhetoric, Science, and Power in Nineteenth-Century France Mary Orr: Education, Education, Education: The Space of the Muséum as Showcase for Thinking its Public Scott A. Gavorsky: L’État comme propriétaire? Schools as Property in Nineteenth-Century France Writing Art History: Institutions and Alternative Authorities Juliet Simpson: Whose History? Art, History and the Nation State in Early Third Republic France L. Cassandra Hamrick: Beyond Institutions: In Search of le souffle moderne in Gautier’s Salon de 1844 Gilles Bonnet: Le Contre-pouvoir critique: Huysmans, vers une fiction d’art Sonya Stephens: Auguste Rodin, or the Institutionalization of the Self as Artist Notes on contributors Index

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Book SynopsisSavage Songs & Wild Romances considers the various types of poetry – from short songs and laments to lengthy ethnographic epics – which nineteenth-century settlers wrote about indigenous peoples as they moved into new territories in North America, South Africa, and Australasia. Drawing on a variety of texts (some virtually unknown), the author demonstrates the range and depth of this verse, suggesting that it exhibited far more interest in, and sympathy for, indigenous peoples than has generally been acknowledged. In so doing, he challenges both the traditional view of this poetry as derivative and eccentric, and more recent postcolonial condemnations of it as racist and imperialist. Instead, he offers a new, more positive reading of this verse, whose openness towards the presence of the indigenous Other he sees as an early expression of the tolerance and cultural relativity characteristic of modern Western society. Writers treated include George Copway, Alfred Domett, Henry Wadsworth Longfellow, George McCrae, Thomas Pringle, George Rusden, Lydia Sigourney, and Alfred Street.Table of ContentsAcknowledgements Illustrations Introduction Texts in Context: Nineteenth-Century Settler Culture “Bold, unfettered rhapsodies”: Nineteenth-Century Versifications of Indigenous Orature “We owe them all that we possess”: ‘Savage’ Songs and Laments “Unlocking the fountains of the heart”: Settler Verse and the Politics of Sympathy Indigenous Romeos & Juliets: Romantic Verse Melodramas “In their strange customs versed”: Ethnographic Verse Epics Conclusion Appendix Works Cited Index

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Book SynopsisAlongside a liberating treatment of the English language, Ernest Hemingway realized some often overlooked innovations in multicultural subject matter. In six of the seven novels published during his lifetime, the protagonist is abroad, bilingual, and bicultural—and these archetypes have significant implications for each character’s sense of identity.In Paris or Paname interprets Hemingway’s overdetermined use of foreignness as a literary device, characterizing how cultural displacement informs plot dynamics. The investigation historicizes the archetypal protagonist’s process of (re)orientation through attention to his intercultural adoptions in language, alcohol consumption, sports, and betrothal rites. Herlihy situates his argument within an apposite research framework from psychological studies on migration, anthropological examinations of cultural ceremony, and literary theory on the poetics of displacement. The analysis offers groundbreaking insights on the distribution of previously overlooked structural patterns (themes, motifs, and symbols) that are present throughout Hemingway’s novelistic corpus, and provides a compelling perspective on the aesthetics of the expatriate/immigrant writing process.Table of ContentsAcknowledgements Introduction Part I Perspectives of Place, Exile, and Identity The Role of Place in Literature Ernest Hemingway Abroad: “He Was a Sort of Joke, in Fact” Part II Patterns of Foreign Behavior: “You Were an American” Final Irony: “They Turned on You Often” “You Must Teach Me Spanish”: The Intercultural Action of Hemingway’s Women Hemingway’s Epilogue: The Old Man and the Sea Appendices Bibliography Index

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Book SynopsisJoyce, Benjamin and Magical Urbanism offers for the first time a sustained exploration of parallels between the fiction of James Joyce and the cultural criticism of Walter Benjamin. Benjamin is perhaps modernism’s most eloquent theorist, Joyce its finest writer of fiction; both haunted the same Paris streets at the height of the modernist moment, and both developed accounts of the flaneur’s encounter with the city, with commodity culture and with others, that were revolutionary in their day and continue to set the agendas for culture and cultural critique. To place some of the work of each side by side is to make evident their affinities: the skills of each as new cartographers of the urban, the interest of each in ethnicity, nationalism, and exile, the way in which the ‘Profane illumination’ celebrated by Benjamin meets the ‘Epiphany’ of Joyce’s A Portrait, as each rethought the epistemology of insight in the modernist moment. This collection explores these parallels between two of the greatest modernists, casting the aesthetic strategies of Joyce in the light of the aesthetic critique of Benjamin, opening up the politics of the one in the light of those of the other, and discerning the parallels between Joyce’s version of a modern urban world in which self and society effect an uneasy rapprochement and Benjamin’s modernist scenarios in which the aura might still linger. This collection discovers extraordinary parallels between the two writers who, writing in Paris, offered new accounts of urban selfhood and survival to the world.Trade Review”On the whole, Joyce, Benjamin and Magical Urbanism makes a serious contribution to our understanding of Benjamin’s and Joyce’s versions of urban modernity and its cultural, political, and social undertows. Its rich historical material and philosophical depth make the parallels between Joyce and Benjamin truly extraordinary.” - Irina Rasmussen Goloubeva, in: James Joyce Broadsheet, No. 96, Oct. 2013Table of ContentsBibliographical Note Enda Duffy and Maurizia Boscagli: Introduction: Joyce, Benjamin and Magical Urbanism Douglas Mao: Arcadian Ithaca Ellen Carol Jones: Memorial Dublin Patrick McGee: The Communist Flâneur, or, Joyce’s Boredom Maurizia Boscagli: Spectacle Reconsidered: Joycean Synaesthetics and the Dialectic of the Mutoscope Graham MacPhee: Benjamin, Joyce and the Disappearance of the Dead Enda Duffy: The Happy Ring House Heyward Ehrlich: Joyce, Benjamin and the Futurity of Fiction Scott Kaufman: “That Bantry Jobber:” William Martin Murphy and the Critique of Progress and Productivity in Ulysses Paul K. Saint-Amour: The Vertical Flâneur: Narratorial Tradecraft in the Colonial Metropolis

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Book SynopsisWhile Oscar Wilde’s delightfully-witty comedies of manners receive the most fanfare from the general public and much of academia, Wilde’s most “serious” play—Salome—rightfully deserves an equal amount of attention. Written by emerging scholars, established scholars, and notable Wilde scholars at the top of the field, the far-ranging essays in this book—the first collection solely on Wilde’s Salome—provide new readings of the play, allowing us to better assess how and why Salome either fits or does not fit into Wilde’s oeuvre. Framed in a new light in this collection, this fuller understanding of Salome should potentially change the way we read both Salome and Wilde’s entire oeuvre.Trade Review"The essays are paired… thematically in ‘common scholarly conversations surrounding Salome and Wilde’s work, as a whole’, and this – fulfilling the aim of the ‘Rodopi Dialogue’ series – enables an organized, but polyvocal reading of the book itself, and more importantly, re-engagement with the play. The fifteen essays, from established and emergent scholar, range over a cornucopia of subjects… Far from producing confusion, this scholarly eclecticism produces some fruitful and exciting juxtapositions… The range of essays in the volume serves both to locate the play in its original intellectual, aesthetic and theatrical context, and to suggest the complex possibilities of twentieth and twenty-first century readings and performances of the text without imposing an erroneously singular or homogeneous overview on this elusive play." – in: New Theatre Quarterly "The collected essays give a comprehensive view of the play and its adaptations. They both competently restate essential interpretations and travel in exciting new directions. The combination of work by emerging and established scholars (the trademark of the Rodopi “Dialogue” series) is an added strength." – in: UPSTAGE: A journal of turn-of-the-century theatre 4/2012 (Summer) "The collection is fascinating and inspiring, wide-ranging and gives impulses for further research. It is to be hoped that more in-depth studies like this are to follow on the work of an author who has always fascinated readers, theatregoers and scholars alike – fashion or no fashion." – Michael Heinze, in: Theater ForschungTable of ContentsMichael Y. Bennett: Introduction: Salome as Anomaly? Ian Andrew MacDonald: Oscar Wilde as a French Writer: Considering Wilde’s French in Salomé Elizabeth Richmond-Garza: The Double Life of Salomé: Sexuality, Nationalism and Self-Translation in Oscar Wilde Andrew R. Russ: Wilde’s Salome: The Chastity, Promiscuity and Monstrosity of Symbols Helen Davies: The Trouble with Gender in Salome Joan Navarre: The Moon as Symbol in Salome: Oscar Wilde’s Invocation of the Triple White Goddess Tom Ue: Death and Tragedy in Thomas Hardy’s The Return of the Native and Oscar Wilde’s Salome Kirby Farrell: Necrophilia and Enchantment in Salome Tony W. Garland: Deviant Desires and Dance: the Femme Fatale Status of Salome and the Dance of the Seven Veils Richard Allen Cave: Staging Salome’s Dance in Wilde’s Play and Strauss’s Opera Michael Y. Bennett: A Wilde Performance: Bunburying and “Bad Faith” in Salome and The Importance of Being Earnest Robert Combs: Salome and the Shudder of History: A Reading in Memory of Morse Peckham Margaux Poueymirou: The Race to Perform: Salome and the Wilde Harlem Renaissance Peter Raby: Unspeakable Things: Headlong Theatre’s Salome and an Aesthetic for the New Millennium Kees de Vries: Intertextuality and Intermediality in Oscar Wilde's Salome or: How Oscar Wilde became a Postmodernist Steven Price: Salome on Sunset Boulevard Essay Abstracts About the Authors Index

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Book SynopsisPerhaps more than any other nineteenth-century Russian writer, Dostoevskii’s continuing popularity rests on his contemporary relevance. The prophetic streak in his creativity gives him the same lasting appeal as dystopian novelists such as Zamiatin and Orwell whom he influenced and whose ethical concerns he anticipated. Religious themes are prominent in his work, too, and, though he was a believer, his interest seems to lie in the tension between faith and unbelief, which was felt as keenly in the Russia of his time as in our own. The nature of Dostoevskii’s art also continues to be debated. The older tendency to disparage his literary method has given way to a recognition of the originality of his techniques, without which his ideological concerns would not have emerged with such thought-provoking clarity. The chapters which comprise this volume address these issues in a range of Dostoevskii’s works, from shorter classics, such as House of the Dead and Notes from Underground to great novels such as Crime and Punishment and The Brothers Karamazov. This work will be of use to scholars and students of Dostoevskii at all levels as well as to those with an interest in nineteenth-century literature more generally.Trade Review"[A]n intriguing collection to ponder, particularly for those who are interested in the artistic and metaphysical questions which traverse the discrete texts of Dostoevsky’s work as a whole. […] The editors, Reid and Andrew, along with the tome’s contributors, are to be congratulated on the high quality of the volume and its significant addition to Dostoevsky scholarship." - Eugenia Kapsomera Amditis (Westchester), in Slavic and East European Journal Vol.58.1 2014, pp. 144-5. "Reid also emphasizes Dostoevsky’s continuing relevance, and suggests this may be related not only to the power of his own works, but also to the fact that Dostoevsky stands behind Bakhtin’s theories, which have enjoyed so much popularity in academic circles and beyond in recent years. Dostoevsky certainly continues to attract a wide range of scholarly debate, and this lively and effective volume makes a sound contribution to the field, and will be useful for students as well as researchers." - Sarah J. Young (University College London), in SLAVONICA Vol. 19 No. 1, April 2013. pp. 69-70. "This excellent collection of fourteen articles addresses the most gripping concepts inseparable from any interpretation of Dostoevskii's work. […] The high quality of individual contributions results in an informed and organic 'polylogue,' a professional round-table, which should be the aim of any such collective scholarly endeavor." - Marina Kostalevsky (Bard College), in The Russian Review April 2013.Table of ContentsPreface Notes on Contributors Robert Reid: Introduction: Aspects of Dostoevskii: Art, Ethics and Faith Katalin Kroó: Intermediary Semantic Formations in White Nights Audun J. Mørch: The Chronotope of Freedom: House of the Dead Sarah Hudspith: Why We Must Laugh at the Underground Man Hristo Manolakev: The Murder Plot in Crime and Punishment: A New Reading Olga Soboleva: Images Are Created to Be Destroyed (Photography and Painting in The Idiot) Diane Oenning Thompson: On the Koranic Motif in The Idiot and Demons Robin Milner-Gulland and Olga Soboleva: ‘Excellent material, I see’: What Happens in Bobok? Leon Burnett: Effacement and Enigma in the Making of The Meek Girl Robin Aizlewood: The Dream of a Ridiculous Man: Both Knowing and Not Knowing, and Questions of Philosophy Joe Andrew: For Men Only? Dostoevskii’s Patriarchal Vision in The Brothers Karamazov Katherine Jane Briggs: ‘Women of Faith’ or ‘Ladies of Little Faith’: Mothers and Daughters in The Brothers Karamazov Robin Feuer Miller: Friendly Persuasion and Divine Conversation in The Brothers Karamazov Richard Peace: One Little Onion and a Pound of Nuts: The Theme of Giving and Accepting in The Brothers Karamazov Cleo Protokhristova: Time v. Narrative in The Brothers Karamazov

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Book SynopsisA truly cosmopolitan Irish writer, George Moore (1852-1933) was a fascinating figure of the fin de siècle, moving between countries, crossing genre and medium boundaries, forever exploring and promulgating aesthetic trends and artistic developments: Naturalism in the novel and the theatre, Impressionism in painting, Decadence and the avant-garde, Literary Wagnerism, the Irish Literary Revival, New Woman culture. This volume on border-crossings offers a variety of critical perspectives to approach Moore’s multifaceted oeuvre and personality. The essays by contributors from various national backgrounds and from a wide range of disciplines establish original points of contact between literary creation, art history, Wagnerian opera, gender studies, sociology, and altogether reposition Moore as a major representative of European turn-of-the-century culture.Table of ContentsList of Illustrations Acknowledgments Christine Huguet and Fabienne Dabrigeon-Garcier: Introduction Exploring Artistic Borders Christine Huguet: The Prima Donna and the Convent: Border Crossings in Evelyn Innes and Sister Teresa Stoddard Martin: George Moore and Literary Wagnerism: A Revisitation Fabienne Gaspari: Painting and Writing in Moore’s Confessions of a Young Man, Lewis Seymour and Some Women, and A Drama in Muslin Isabelle Enaud-Lechien: Moore and Whistler: Writer and Painter at Loggerheads Marie-Claire Hamard: Max the Caricaturist and Moore: Crossing the Boundaries of Friendship Authorship and Authority Adrian Frazier: George Moore and Collaborative Authorship Eamonn R. Cantwell: Crossing Borders: Moore and Yeats in the Theatre Alain Labau: George Moore: A Man of Letters on the Margins of Reality Michel Brunet: “Mais qui voudrait me lire en français?”: Reading George Moore’s Letters to Edouard Dujardin Grafts and Transplants Ann Heilmann and Mark Llewellyn: The Quest for Female Selfhood in Evelyn Innes and Sister Teresa: From Wagnerian Künstlerroman to Freudian Family Romance Mary Pierse: “No More than a Sketch” Konstantin Doulamis: Ancient Greece and the Art of Storytelling in George Moore’s Aphrodite in Aulis Spaces and the Subject Elizabeth Grubgeld: Framing the Body: George Moore’s “Albert Nobbs” and the Disappearing Realist Subject Nathalie Saudo-Welby: “The Soul with a False Bottom” and “The Deceitful Character”: Analysing the Servant in the Goncourts’ Germinie Lacerteux and George Moore’s Esther Waters Michele Russo: Spatial Metaphors and Liminal Elements in Esther Waters Fabienne Dabrigeon-Garcier: “A Letter Came into His Mind”: Fictional Correspondence in The Lake Select Bibliography Notes on Contributors Index

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Book SynopsisChateaubriand aime les choses : leur aspect, présence, allure, texture. Sans doute pourrait-on parler d’un « parti pris des choses », à la Francis Ponge, poète qui, de ce point de vue, lui ressemble un peu. La critique chateaubrianesque, on le sait, a tendance à privilégier les « grands sujets » : la politique, l’Histoire. Elle a donc laissé dans l’ombre les galets de la plage de Dieppe, les arbres et les fleurs, les chemises du chevalier, les babouches de Constantinople, les lits, portes et serrures de la chambre de Waldmünchen, les brins d’herbe qui attirent l’attention du voyageur et du mémorialiste et qui sont aussi, pour l’écrivain, une véritable matière première. Car si la littérature a pour vocation de dire le réel avec les mots, il importe de choisir les mots justes. Trop de mots tuent le réel ; quand il n’y en a pas assez, l’écrivain est condamné au silence. De là vient une tension récurrente dans l’analyse, et aussi sans doute dans les textes : l’objet anodin, la « petite chose » peut très facilement se muer en son contraire ; elle devient alors allégorie ou symbole, elle exprime le Sens. S’intéresser à Chateaubriand « chosiste », c’est donc à la fois laisser aux choses leur insignifiance, et les faire signifier, mission délicate dont s’acquittent avec brio les contributeurs au présent volume.Table of ContentsSommaire Franc Schuerewegen: Introduction Philippe Berthier: Voyage autour de ma chambre Jean-Marie Roulin: Les Chemises du Chevalier Philippe Antoine: Ces cailloux, qui prennent la parole Marta Caraion: Le poids des objets dans les Mémoires d’outre-tombe Pierre Glaudes: Les objets dans les Aventures du dernier Abencérage Nathalie Solomon: Les babouches de Constantinople Franc Schuerewegen: « Mes deux rosses, faisant les fringantes… » Roy Groen: Feuilles mortes, Mémoires vivants Karen Haddad: Les chaussures de mon oncle Alain Vaillant: Chateaubriand ou presque rien Résumés

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Book Synopsis« Nous en repaissions nos yeux; nous en écartions les narines; nous en ouvrions les oreilles ». Cette phrase de Flaubert nous enseigne qu’on voyage avec le corps et que la totalité des sens est mobilisée dès lors qu’il s’agit de comprendre l’ailleurs et d’en jouir. Il importe de revenir sur le privilège traditionnellement accordé à la vue car la relation viatique consigne l’ensemble des sensations qui adviennent à celui qui parcourt le monde: ouïe, goût, odorat, toucher mais aussi perceptions internes ou liées au mouvement. Le présent volume se propose de partir sur les pas de Flaubert et de quelques voyageurs qui ont comme lui donné à lire une approche sensible du paysage. Leur prose garde un peu de la poussière des chemins, de l’odeur des buissons ou encore du balancement tranquille de la marche… C’est du moins ce vers quoi elle tend, en essayant de réduire autant que faire se peut l’impossible coïncidence des mots et de l’expérience.Table of ContentsSommaire “Introduction”, Philippe Antoine “Le vin et l’euphorbe: sens et expériences à Ténériffe au tournant des XVIIIe et XIXe siècles”, Anne-Gaëlle Weber “Paysages inchoatifs: sens en mouvement et découverte de l’ailleurs dans les récits d’exploration au Tibet”, Samuel Thévoz “L’oeil écoute: modalités perceptives et polysensorialité dans les voyages en Orient”, Frédéric Calas “Les paysages sonores de Chateaubriand en voyage”, Alain Guyot “La nuit orientale”, Sarga Moussa “Vivre son voyage: l’engagement des corps chez Dumas et Gautier. Voyage en Suisse, Voyage en Espagne, Constantinople”, Nathalie Solomon “L’auberge espagnole: le voyageur romantique et ses expériences culinaires”, Odile Gannier “La mise en texte de l’inouï. Paysage sonore dans le Voyage en Espagne de Théophile Gautier”, Sophie Lécole “« […] nous en repaissions nos yeux; nous en écartions les narines; nous en ouvrions les oreilles ». Flaubert en Bretagne”, Philippe Antoine “Le voyageur et sa sexualité: Flaubert ou l’interdit des sens levé pour rien”, Thierry Poyet “Du pinceau à la plume: le voyage des Goncourt en Algérie”, Pierre Dufief “Rosny Aîné: régression lyrique et sensuelle vers le wonderland”, Lauric Guillaud Résumés

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Book SynopsisSince the 1874 publication in Belgium of the first posthumous edition of Les Chants de Maldoror, the enigmatic work has served as an inspiration for the poetic and creative liberation of countless twentieth-century writers and artists. Little is known, however, about the book’s elusive French author Isidore Ducasse, known as le comte de Lautréamont, and his abbreviated life (1846-1870). In the absence of an original manuscript, Lautréamont’s readers have over time altered his poetry for personal, political, and aesthetic reasons. Symbolist literary journals, first editions of his work, surrealist illustrated editions, and the prestigious Pléiade edition (1970 and 2009), reveal how varying editions of Lautréamont’s work have in turn contributed to his legend. In Lautréamont, Subject to Interpretation, Andrea S. Thomas carefully explores these editions of this so-called poète maudit to show how impassioned readers can shape not only the reception of works, but the works themselves.Trade Review"Thomas has produced an engagingly written, ground-breaking work that is bolstered by an apposite selection of attractive illustrations. It raises fundamental questions about the complex power dynamics between writers, artists, composers, editors, and publishers in the production of textual authority and is likely to remain for some time as the “point de référence” for any scholar seeking to understand the history of Lautréamont reception." - Damian Catani, Birkbeck University of LondonTable of ContentsList of Illustrations Acknowledgments Introduction Lautréamontage: Imaginary Portraits of Lautréamont I – Fin de Siècle Chapter 1: Outsiders at the Fin de Siècle Chapter 2: Perish then Publish: Partial Truth in the 1890 Edition of Maldoror II – Surrealism Chapter 3: Investing in Lautréamont, 1920 Chapter 4: The Edition as Exhibition: A Surrealist Retrospective, 1938 III – Post-Structuralism Chapter 5: Lautréamont in the Bibliothèque de la Pléiade Chapter 6: Lautréamont Reincarnated Conclusion: John Cage and the Chants de Maldoror: Pulvérisés par l’assistance même Bibliography Index

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Book SynopsisWilliam Blake's literary works are characterized by a ceaseless dynamics constituted in the fierce interactions of the language, thought, and narrative of his myth. Highlighting the critical problems facing the linear approach that the study of Blake has adopted from the traditional methodology of Newtonian science, Jules van Lieshout argues that nonlinearity is the key to understanding Blake's prophecies. Throughout his discussions, Van Lieshout focuses on the relation of Blake's Generation and Eternity, which he identifies as Bakhtinian 'world views'. In Generation, existence is finalized as a hierarchy of geometric 'dark globes', each assuming the character of universal whole to the exclusion of all others. Eternity, on the other hand, is Blake's fractal 'human form' of existence that is continuously organized and reorganized in the dynamic interaction of whole and parts. Blake represents these world views as interinvolved. Their dynamic interaction reflects and refracts his conceptual thought, mythological narrative, and poetic language. Hence, his visionary epic self-organizes into a self-similar complex system whose patterns of behaviour are not merely remarkably like those that modern applications of nonlinear dynamics are revealing in the physical world, but are indeed inherent in the processes of writing and reading his individual works.

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