Literary studies: c 1900 to c 2000 Books

Book SynopsisThis collection of essays, which should appeal both to Slavists and students of comparative literature, deals with twelve major twentieth-century Russian poets who, for varied reasons, became estranged from the Soviet state. Some stayed in Russia to become inner émigrés, others chose to go into exile in the West. One less hope, one more song (Akhmatova’s words), stands both for their suffering and often their deaths, but also for their humanity and poetic achievement. The poets in question are Anna Akhmatova, Osip Mandelshtam, Vladimir Mayakovsky, Alexander Blok, Sergey Esenin, Nikolay Gumilev, Vyacheslav Ivanov, Marina Tsvetaeva, Vladislav Khodasevich, Boris Poplavsky, Boris Pasternak and Joseph Brodsky. The whole collection is followed by a cultural perspective of the Russian 19th and 20th centuries.Table of ContentsIntroduction Conscience in Anna Akhmatova’s Poetic Work Marina Tsvetaeva’s Mystic Path Vladislav Khodasevich’s Nightmare World Boris Poplavsky: Poet of Unknown Destination The Ebb of Joseph Brodsky’s Poetic Inspiration The Search for the Cosmic Connection in Twentieth-Century Russian Poetry Nikolay Gumilev’s The Pillar of Fire Alexander Blok’s The Twelve Alienation in Sergey Esenin’s Poetry Osip Mandelshtam’s Stone and Tristia. Poet of Loneliness Epilogue A Cultural Perspective

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Book SynopsisSuisse romande depuis son mariage, mais ayant passé la première moitié de sa vie aux Pays-Bas où le français était devenu très tôt sa langue « naturelle », Belle de Zuylen / Isabelle de Charrière joue quelque peu les trublions dans nos habitudes académiques. Lire son œuvre – ses lettres, ses romans, ses pamphlets et ses pièces de théâtre – c’est accepter des retouches à notre tableau des Lumières qui n’en ressortira pas indemne ; c’est revoir les limites du champ de la critique littéraire, structuré et hiérarchisé depuis le XIXe siècle en fonction de littératures « nationales ». Bilingue (français et anglais), ce recueil contient des articles basés sur les contributions à un colloque international qui s’est tenu à l’Université d’Utrecht en avril 2005 pour commémorer le bicentenaire de la mort de l’écrivaine. As a Dutch woman who spent half her life in Switzerland and chose French as her writing language, Belle de Zuylen / Isabelle de Charrière parades a defiant attitude towards the constraints of the literary field. To read with care her letters, her novels, pamphlets and plays means accepting some modifications to our picture of the Enlightenment, and obliges us to question the limits of the field of literary criticism such as it has been structured since the nineteenth century, that is, along the lines of national canons. This bilingual volume (English and French) contains articles based on contributions to the international congress that was organized at Utrecht University in April 2005 on the occasion of the bicentennial of the author’s death.Table of ContentsValérie COSSY: Avant-propos Valérie COSSY: Foreword Monique MOSER-VERREY: Leaving the castle: the avenues of creation I. Education Madeleine VAN STRIEN-CHARDONNEAU: Isabelle de Charrière, pedagogue Paul PELCKMANS: Adieu Poes que je chéris, quoiqu’il me mette de mauvaise humeur… Isabelle de Charrière et Willem-René van Tuyll, profil d’un échec pédagogique Nadine BÉRENGUIER: Entre constat et prescription: les hésitations pédagogiques d’Isabelle de Charrière André BANDELIER: Des gouverneurs et gouvernantes suisses dans les Provinces-Unies au siècle des Lumières II. Creation Marie-Hélène CHABUT: La femme de lettres: Isabelle de Charrière écrivaine et lectrice des Lumières Kees VAN STRIEN: Genesis and reception of Portrait de Zélide Martine REID: Dilemme, ou la condition des femmes Heidi BOSTIC: From convention to performance: the woman of reason in Letters of Mistress Henley published by her Friend Guillemette SAMSON: Le thème de l’éducation dans les comédies d’Isabelle de Charrière Yvette WENT-DAOUST: Dramaturgie d’un théâtre oublié Jacqueline LETZTER: The historical significance of Isabelle de Charrière’s operatic ambitions Helen METZELAAR: The musical careers of Isabelle de Charrière and Jean-Jacques Rousseau III. Reception Willem FRIJHOFF: French language or French manners? Belle de Zuylen and the love-hate relationship between the Netherlands and the French-speaking world. Paul J. SMITH: Isabelle de Charrière et la littérature du Grand Siècle Isabelle VISSIÈRE: Française, francophone, cosmopolite? Valérie COSSY: Isabelle de Charrière and the universality of the French language: from cosmopolitanism to imperialism Suzan VAN DIJK: Isabelle de Charrière et son contexte historique: perspectives de recherche grâce à internet Présentation des auteurs/About the authors Table des illustrations/List of illustrations Index des noms/of names Index des œuvres d’Isabelle de Charrière/Works cited in this volume

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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 SynopsisThe essays in this collection were originally given at the international colloquium Cent Ans de Bataille: La Bataille de Cent Ans held at the Fondació Tàpies in Barcelona in September 1998. They are written from a variety of perspectives but are drawn together by the singular aim of addressing and interrogating Georges Bataille as our contemporary whose fascination with the rupture between mythical and experimental forms of discourse defines our own age as much as it did in Bataille’s own time. More precisely, the essays in this collection range over Bataille’s status as a novelist, a poet, an art critic, a philosopher and a prophet of post-modernity with this aim in mind. They not only seek to advance and clarify debate about Bataille’s present status in the post-modern canon but also shed new light on the complex relation between Bataille and the present generation of readers who have come to him through the prism of post-modernist thought. It is of significance for each writer in this collection, most crucially, that the premonition of catastrophe which defined Bataille’s fluid political positions is also located between tragedy and irony.Table of ContentsAndrew HUSSEY: The Beast at Heaven’s Gate: Georges Bataille and the Art of Transgression Boris BELAY: Le Secret du corps de Madame Edwarda (Bataille de la philosophie à la limite de l’obscène) Martin CROWLEY: L’eschatologie trouée de Ma Mère Lina FRANCO: Deux écrivains face à l’histoire: George Bataille et Elio Vittorini. La hantise du politique Patrick FFRENCH: Dirty Life Paul HEGARTY: As Above, So Below; Informe/Sublime/Abject Andrew HUSSEY: ‘The Slaughterhouse of Love’: The Corpse of ‘Laure’ Ian JAMES: From Recuperation to Simulacrum: Klossowski’s Readings of George Bataille Cathy MACGREGOR: The Eye of the Storm: Female Representation in Bataille’s Madame Edwarda and Histoire de l’oeil John PHILLIPS: ‘The Law of the Mother’: Masochism, Fetishism and Subjectivity in George Bataille’s Histoire de l’oeil Malcolm POLLARD: The Use-Value of Georges Bataille: Philippe Sollers and the Act of Writing Richard WILLIAMS: Informe and ‘Anti Form’ Notes on Contributors

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Book SynopsisNeue Sachlichkeit is thought by many to have too many diverse elements to be a unified movement. Originally divided by G.F. Hartlaub into two ‘wings’, Neue Sachlichkeit has since been broken down by critics into more groups, sometimes with opposing styles or regional influences. However, the importance of these divisions has rarely been explored in depth. Unlike previous surveys, which accept Neue Sachlichkeit as a divided entity, this book shows for the first time that in spite of its divisions, it may still be regarded as a unified, coherent movement. While different artists may have sought to express different specific concerns, what they all had in common was that they were uncomfortable with the world as it stood, and it is the way that this was expressed, making use of the object, that gave Neue Sachlichkeit its unity. This was just as true of the literature and photography of Neue Sachlichkeit, where the same themes as those found in the painting were frequently used. The fact that these are shared themes across different cultural media demonstrates that Neue Sachlichkeit reflected a mood of its time, and this book explores the ways in which this mood was expressed.Table of ContentsIllustrations Abbreviations Acknowledgements 1. Introduction 2. Art of its Time. The Great War and the Weimar Republic 3. Neue Sachlichkeit Defined? 4. A Theoretical Approach 5. A Thematic Approach 6. The New Photography 7. Neue Sachlichkeit Literature 8. Neue Sachlichkeit, Modern Art, and National Socialism 9. Conclusion Bibliography Index

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Book SynopsisÀ partir d’une approche contrastive de l’œuvre de Georges Bataille, La fascination du Commandeur montre que la pensée française, tout au long du XXe siècle, a tergiversé entre deux expériences du sacré : l’une immédiate, à même le corps, l’autre symbolisée, passant par l’écriture. Dans le contexte d’une Troisième République faisant du sacré un moyen de recentrement national, Bataille reste tributaire de Durkheim et de Mauss par les difficultés qu’il rencontre à reconnaître au sacré une dimension langagière. Ses principaux interlocuteurs — Breton, Caillois, Leiris, Paulhan, Blanchot, Lacan — ne manquent pas d’ailleurs de l’interpeller sur ce point, même si certains d’entre eux se montreront à leur tour indécis sur la question. D’autres, tel Sartre, évacuent ostensiblement l’écriture mais sans en accomplir le deuil. En somme, il y va à chaque fois du credo esthétique de Proust qui tôt ou tard apparaîtra pour chacun comme une véritable figure de Commandeur. Après la mort de Bataille, le débat demeure d’actualité : l’expérience langagière du sacré animera des débats en psychanalyse (Lacan, Lyotard, Deleuze et Guattari), en philosophie (Derrida, Nancy, Lacoue-Labarthe), en littérature (Blanchot), tout comme elle déterminera l’avant-gardisme d’après-guerre, notamment avec le groupe Tel Quel.Table of ContentsIntroduction Chapitre 1 : Réinvestir ces somptueux temples délaissés Chapitre 2 : Pour en finir avec la littérature Chapitre 3 : Retour impromptu de l’indésirée Chapitre 4 : La cathédrale défenestrée Conclusion Bibliographie Index des auteurs Table des matières

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Book SynopsisProposant comme objet commun d’interrogation « le sens et la présence du sujet poétique », tel qu’il se manifeste ou se refuse, dérive ou déborde, s’éprouve ou s’échappe dans la production poétique de la France et du monde francophone depuis 1980, le présent volume réunit un nombre considérable d’études et de réflexions qui, parties de divers postulats, penchants ou postures d’écriture, englobent bien des courants et des clivages dont s’alimentent encore fructueusement aujourd’hui, mais non sans les contester ou les réorienter, poésie et pensée critique. De l’absence à la présence, de la froide objectivation dispositale aux troublants sursauts et silences de l’instance subjective, de la négativité du re-jet à la palpitation difficilement localisable du sub-jet ou du sur-jet, le lecteur est convié à savourer un très large et très riche éventail d’approches qui convergent toutes sur la même problématique en éclairant avec finesse l’étonnante pluralité d’enjeux autour desquels s’articulent la poésie et ses précarités, ses percées, sa haute pertinence.Table of ContentsMichael BROPHY, Mary GALLAGHER: RELIEFS DU SUJET Marie-Claire BANCQUART: Gérard Titus-Carmel, ou « l’apparat d’absence » Michael BISHOP: Le théâtre de l’ouvert Lucie BOURASSA: Du clochard à l’histrion : figures du sujet dans Il n’y a plus de chemin de Jacques Brault Michael BROPHY: Le passant et le reste chez Bernard Noël Colette CAMELIN: Un corps-esprit : la question du sujet poétique dans Patmos et autres poèmes et dans Apprentissages Élisabeth CARDONNE-ARLYCK: Entre Agnès CASTIGLIONE: Passion lyrique d’Yves Charnet Mary Ann CAWS: Qu’est-ce que la poésie en France peut nous dire en ce moment ? Yves CHARNET: Hors de moi. Lettre à Bernard Noël Michel COLLOT: Se retrouver paysage Mary GALLAGHER: L’assujettissement du sujet poétique des Antilles françaises ? Jérôme GAME: Cut-up et montage : d’un sujet constructiviste dans la poésie de Vannina Maestri Jean-Marie GLEIZE: [j’] Laure HELMS: « Une voix venue d’ailleurs » : voix et mémoire dans la poésie de Louis-René des Forêts Hugh HOCHMAN: Jacques Réda et le lecteur exemplaire de La Fontaine Lucie HOTTE: Identité collective et identité individuelle : le sujet poétique en poésie franco-ontarienne Michael G. KELLY: Intermittences et perspectives du sujet poétique chez Alferi et Tortel Jean KHALFA: Ontologie et subjectivité chez Césaire Daniel LEUWERS: Dominique Fourcade : une question de cordes vocales Jean-Michel MAULPOIX: De la responsabilité du poète… Philippe MET: « Poésie ou mort, ou quelque chose d’approchant » : la mort du sujet dans les carnets de Pierre-Albert Jourdan Michèle MONTE: Runes de Jean Grosjean et La grande neige d’Yves Bonnefoy: de l’étrangeté pragmatique à la lecture allégorique Véronique MONTÉMONT: Épouser le monde : individualité et universalité du sujet poétique chez Lorand Gaspar John NAUGHTON: Un nouveau Bonnefoy? Patrick NÉE: De la « présence » selon Yves Bonnefoy Pierre OUELLET: Zoopoièsis. Éthologie du sujet poétique Claude PÉREZ: Olivier Cadiot poète lyric’ Jean-Claude PINSON: Ironie et lyrisme Anne-Christine ROYÈRE: « Je ne suis que là où le rouge me fendre » : l’« horrible en dedans – en dehors » ou l’absolue transitivité du sujet dans la poésie d’Emmanuel Laugier John C. STOUT: « La poésie est un enjouement irréparable » : la subjectivité lyrique déjouée dans la poésie de Mathieu Messagier Renée VENTRESQUE: Le « tourniquet-poème » de James Sacré Nathalie WATTEYNE: Voix d’outre-tombe dans les poèmes en prose d’Isabelle Pinçon et de Louise Dupré Steven WINSPUR: L’absence joyeuse de sujet chez Philippe Jaccottet Index

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Book SynopsisPushing at Boundaries presents approaches to women writers who have recently had a big impact in shaping the contemporary literary field in Germany. The opening chapters offer the first extensive consideration of Karen Duve’s work, including an excerpt from her latest novel, the romance parody Die entführte Prinzessin, a fascinating commentary by her translator Anthea Bell, and essays on her acclaimed novel Regenroman, her subversive take on West German youth culture in the 1980s in Dies ist kein Liebeslied, and explorations of the witty echoes of fairy tales and myths in all her novels and stories. Other writers compared with Duve or discussed independently include Anne Duden, Jenny Erpenbeck, Julia Franck, Michael Fritz, Kerstin Hensel, Julia Schoch, Malin Schwerdtfeger, and Maike Wetzel. A final essay explores Berlin, as capital city and urban jungle, in recent novels by Sibylle Berg, Tanja Dückers, Alexa Hennig von Lange, Judith Hermann, Unda Hörner, Inka Parei, Kathrin Röggla, Antje Stelling, and Antje Rávic Strubel. Readers will find many cross-connections and contrasts reflecting the heterogeneous and often conflict-ridden culture in Germany today. Topics include the subversion of gender stereotypes; the merging of 'high' and 'low' culture; the invasion of cultivated spheres by 'wild' nature; post-Wende border crossings between East and West; and the highly charged relationship between lust and disgust.Table of ContentsIntroduction Karen DUVE: Die Mummel Anthea BELL: Translating Karen Duve into English with a few peripheral observations on translation in general Peter J. GRAVES: The Novels of Karen Duve: just ‘chick lit with […] grime’ (and dragons)? Teresa LUDDEN: Nature, Bodies and Breakdown in Anne Duden’s ‘Das Landhaus’ and Karen Duve’s Regenroman Elizabeth BOA: Lust or Disgust? The Blurring of Boundaries in Karen Duve’s Regenroman Elisa MÜLLER-ADAMS: ‚De nymphis, sylphis, pygmaeis et salamandris’ – zur Verwendung eines Motivkreises in Texten von Michael Fritz, Julia Schoch und Karen Duve Heike BARTEL: Von Jonny Rotten bis Werther: Karen Duves Dies ist kein Liebeslied zwischen Popliteratur und Bildungsroman Lucy MACNAB: Becoming Bodies: Corporeal Potential in Short Stories by Julia Franck, Karen Duve, and Malin Schwerdtfeger Katie JONES: ‘Ganz gewöhnlicher Ekel’? Disgust and Body Motifs in Jenny Erpenbeck’s Geschichte vom alten Kind Lyn MARVEN: ‘Nur manchmal mußten sie laut und unverhofft lachen’: Kerstin Hensel’s Use of Märchen Petra M. BAGLEY: Granny Knows Best: The Voice of the Granddaughter in ‘Grossmütterliteratur’ Franziska MEYER: ,und dabei heißt es immer aufbruchstimmung’. Das Verschwinden einer Metropole in ihren Texten Notes on Contributors

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Book SynopsisLes voyages relatés dans le présent volume sont en effet fortement associés aux dimensions visuelle et scripturale en ce qu’ils se fondent sur, engendrent ou passent par l’écriture et/ou la figuration, que ce soit simultanément ou consécutivement : le voyage vers des contrées mystérieuses et déroutantes de Marco Polo, dans l’hypermonde, une campagne militaire…, le voyage formateur…, celui entrepris pour raisons pratiques ou intellectuelles…, pour s’adonner à une nostalgie improbable …, au rêve d’ une communauté idéale…, ou pour se confronter à l’étrangeté du lieu visité. En considérant les échanges variés et serrés entre les deux modes d’expression, le rapport texte/image apparaît dans la perspective du voyage comme la métaphore de l’expérience même du voyage au sens profond du terme. Cet aspect (trans)formateur du voyage est donc au cœur du présent recueil (…) Comme dans la vie de ces voyageurs, un réseau nouveau, invisible se crée sous l’effet du déplacement entre la lettre et la forme, entre ce qui était au départ inaccessible, ignoré ou impensable et le connu ou convenu… Il ne reste plus qu’ à souhaiter qu’en voyageant d’un texte à l’autre, d’une illustration à l’autre, d’une ambiance historique et imaginaire à l’autre, le lecteur saisisse, lui aussi, l’occasion de circuler entre les diverses configurations du dialogue visuel/scriptural… (et) entre l’histoire, l’histoire de la littérature, de l’art, la littérature comparée et l’esthétique graphique.Table of ContentsSommaire Introduction - Résumés Jean-François KOSTA-THEFAINE: Du récit de voyage et de sa mise en image : l’exemple du manuscrit de New York (Pierpont Morgan Library M.723) du Devisement du Monde de Marco Polo K. Michelle HEARNE: Le Voyage de Gênes : The Queen’s Perspective Véronique BOUCHERAT: Le journal de voyage et les dessins de Dürer aux Pays-Bas (1520-1521) : des lectures complémentaires Frank MULLER: Vers “la belle et féconde Italie, riche en nobles constructions...” : un prince et un architecte allemand en pèlerinage artistique à la fin du XVIe siècle Léna WIDERKEHR: Au fil du Rhin : invitation européenne au voyage entre texte et image de 1570 à 1660 Sophie LINON-CHIPON: Itinéraire d’un “viator pictor” : le regard de Corneille Le Brun, dans son Voyage du Levant (1674 -1693) et la mise en image de Smyrne/Izmir Richard PARISOT: L’oeuvre d’art dans les récits de voyage de pasteurs germanophones à la fin du XVIIIe siècle : jeux d’images et d’influences Jean-Loup KORZILIUS: Entre imaginaire et réalité : l’Italie décrite et peinte chez Arnold Böcklin et Hans Von Marées Gabriele PADBERG: Heinrich Vogeler : A la recherche du “paradis sur terre” Chloé CONANT: Les voyages photolittéraires de la plasticienne Sophie Calle: une cartographie plurielle Annick LANTENOIS et Luc DALL’ARMELLINA: Texte et hypertexte. Du voyage à l’errance

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Book SynopsisZone of Evaporation: Samuel Beckett’s Disjunctions is a valuable, and very readable, addition to Beckett studies. From Dream of Fair to Middling Women to How It Is, the book traces the modes of disjunction Beckett employed in his effort to “eff the ineffable”. From the comic incongruities of Watt to the ontological gaps of The Unnammable, Zone of Evaporation demonstrates the crucial and consistent role disjunction played in Beckett’s novels. The book describes Beckett’s divergence from Proustian metaphor and the revelation of the “real” towards an art which exploited the gaps and fissures within language and narrative and, ultimately, to an art which would go on to upset the post-structuralism of Jacques Derrida. For those coming fresh to the works, Zone of Evaporation, written with an eye on the comic instincts of Beckett, provides almost a disjunctive guide to Beckett’s early and mid-period novels. To the seasoned Beckett reader, Zone of Evaporation offers an engaging, and challenging, new perspective on Beckett’s aesthetic practice.Table of ContentsAcknowledgements Abbreviations Introduction Chapter 1: The Proustian Vision and the Beckettian Dream Chapter 2: Comic Watt Chapter 3: Molloy (for the purposes of beginning) and Narrative Chapter 4: Being Beyond the Unnamable Chapter 5: Beckett / Derrida Chapter 6: In Conclusion: The Play of The Three Dialogues Bibliography Index

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Book SynopsisWhile François Mauriac’s reputation as a novelist is well established, it is often forgotten that fiction forms only part of his output, and that in the post-war years especially, it was principally his activities as a journalist which kept him in the public eye. His interventions in the key debates of the period helped to consolidate his position as a major intellectual alongside Jean-Paul Sartre and Albert Camus. This book examines the evolution of François Mauriac’s career during the twentieth century, and his gradual transformation from novelist to intellectual. Situating Mauriac and his activities firmly in their socio-cultural context, it draws in particular on the insights provided by Bourdieusian sociology to explore the mechanisms and social processes which allow Mauriac to emerge as an authoritative voice of moral conscience. In doing so, it offers new perspective on key moments in his career, from his changing fortunes as a novelist in the 1930s, examined here for the first time through the prism of his reception by the influential Nouvelle Revue française, to his unlikely collaboration with the then-radical L’Express in the 1950s. At the same time, it argues that tracing Mauriac’s trajectory helps to crystallise the broader changes affecting the literary and cultural landscape in France during the twentieth century.Table of ContentsAcknowledgements Conventions of Reference Introduction Chapter 1: Choices and Positionings Chapter 2: Death and Resurrection Chapter 3: Responsibility and Commitment Chapter 4: Commitment and Commodification Chapter 5: Abdication and Alienation Bibliography Index

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Book SynopsisD. H. Lawrence has suffered criticism for the emotional excess of his language, and for a suspected leaning towards right-wing politics. This book contextualises his style and political values in German culture, especially its Romantic tradition which has been subjected to the same criticism as himself. In his writing Lawrence struggles between opposing German cultural elements from thee eighteenth century onwards, to dramatise the conflicts in Modern European culture and history in the first half of the Twentieth century. The book demonstrates how his failures are integral to his achievements, and how the self-contradictory nature of his art is actually its saving grace. This volume surveys the whole span of Lawrence’s career; it is intended for both students and teachers of the author, and for those interested in the cross cultural relations of European Modernism. Previous studies have tended to outline references in Lawrence’s work to Germany without focusing on the historical, cultural and ideological issues at stake. These issues are the subject of this book.Table of ContentsList of Illustrations Introduction I Towards a Modernist Tragedy: The White Peacock II Between Wagner and Nietzsche: The Trespasser III Versions of Modernist Realism: Sons and Lovers and Buddenbrooks IV Unity and Fragmentation in The Rainbow V Myth and History in Women in Love VI Rewriting Wilhelm Meisters Lehrjahre in The Lost Girl VII A Reflection on Past Influences: Mr Noon VIII Leadership and the “Dead Ideal”: Aaron’s Rod and Kangaroo IX The Völkisch Ideologies in The Plumed Serpent Conclusion: The Lady Chatterley Novels Select Bibliography Index

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Book SynopsisThis study is the first to examine the contribution made by women writers to politically committed literature in 1930s France. Its purpose is to bring to light the work of female authors of left-wing fiction whose novels are comparable to those of well-known male practitioners of littérature engagée, such as Paul Nizan and Louis Aragon. It analyses the work of Madeleine Pelletier, Simone Téry, Edith Thomas, Henriette Valet and Louise Weiss in the context of the inter-war models of committed literature in relation to which they were produced. Consideration of this body of fictional texts, not previously brought together by literary historians, shows how women were able to relate to fiction and to politics in inter-war France. Situating the novels within their social, historical, literary and political environment, the book contributes to the literary and cultural history of twentieth century France. The analysis of inter-war political writing by women calls into question the criteria against which women’s writing has been evaluated by feminist scholarship.Table of ContentsAcknowledgements Abbreviations Introduction Women, Politics and Fiction in 1930s France Gender and Genre: The Political Novel Fictional Representations of Female Commitment Politics and Female Sexuality Politics and the Maternal Body Conclusion 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 SynopsisWhat can philosophy bring to the reading of Beckett? Combining intertextual analysis with a ‘schizoanalytic genealogy’ derived from the authors of L’Anti-Œdipe, Garin Dowd’s Abstract Machines: Samuel Beckett and Philosophy after Deleuze and Guattari offers an innovative response to this much debated question. The author focuses on zones of encounter and thresholds of engagement between Beckett’s writing and a range of philosophers (among them Spinoza, Leibniz and Kant) and philosophical concepts. Beckett’s writing impacts in a variety of ways on Deleuze and Guattari’s thought, and, in particular, resonates with Deleuze’s contributions to the history of philosophy (in books such as Le Pli: Leibniz et le baroque), and his ‘critical and clinical’ approach to literature. Furthermore, the books co-written with Guattari, concerned as they are with the ‘molecularization’ of the discipline of philosophy in the name of ‘thinking otherwise’, reveal themselves in a new light when explored in conjunction with Beckett’s œuvre. With its arresting perspectives on a wide range of Beckett’s works, Abstract Machines will appeal to academics and postgraduate students interested in the philosophical aspects of his writing. Its engagement with alternative contributions to the question of Beckett and philosophy, including that of Alain Badiou, renders it a timely and provocative intervention in contemporary debates on the relationship between literature and philosophy, both within the field of Beckett studies and beyond.Table of ContentsNote on references Acknowledgements Introduction 1. Shadow Hospitality: Beckett and Philosophy after Deleuze & Guattari 2. Beckett’s Abstract Machines: from Murphy to The Lost Ones 3. From Monadology to Nomadology: Leibniz, Deleuze, Beckett 4. Matter, Judgement and Immanence in How It Is 5. “Vasts apart”: Deleuze, Phenomenology and Worstward Ho 6. Beckett’s ‘Dislocations’ Conclusion: “l’insurrection des molécules” Works Cited Index

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Book SynopsisThis volume departs from a more static concept of identity politics to engage the varied and entangled processes of ethnic/racial, national, and gender identifications in a range of contemporary US ethnic texts (from the mid-1960s to the mid-1990s). Recognizing the growing salience of variously named ethnic, multicultural, and minority literatures as they are produced and circulated in the USA and worldwide nowadays, this work charts four broadly defined models of approaching such texts: cultural nationalism, ethnic feminism, borderlands and contact zones, and finally, the diasporic model. Drawing extensively on psychoanalytic theory, feminist/gender studies, critical race theory, postcolonial theory, and its revision of ethnography, the book offers a fresh, engaged, theoretically, and analytically well-rehearsed overview of the distinctive and determining features of a rapidly expanding domain of contemporary US literary production, namely, ethnic literatures. Of potential interest to scholars of American/US literature, but also minority and postcolonial literatures, and to students of American literature, the book attempts an interethnic comparative approach to well- and lesser-known texts. Among the authors represented are Shawn Wong, Oscar Zeta Acosta, Toni Morrison, Maxine Hong Kingston, Sherman Alexie, Denise Chávez, Rolando Hinojosa, Roberto Fernández and Edwidge Danticat.Table of ContentsAcknowledgments Introduction: US ethnic identities from cultural nationalism to trans-nationalism I: Impassioned discourse and “passionate politics”: cultural nationalism and the ethnic revival II: Summoning a new subject: “ethnic feminists” III: Borderlands/contact zones: “reworlding” ethnicity IV: Diasporic identities: breaking and re-making ethnicity Afterword: the wheel keeps on turning Notes Bibliography Index

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Book SynopsisOffering essays from some of the leading academic writers and younger scholars in the field of American studies from both the United States and Europe, this volume constitutes a rich and varied reconsideration of Modernist American poetry. Its contributions fall into two general categories: new and original discussions of many of the principal figures of the movement (Frost, Pound, Eliot, Williams, Cummings and Stevens) and reflections on the phenomenon of Modernism within a broader cultural context (the influence of Haiku, parallels and connections with Surrealism, responses to the Modernist accomplishment by later American poets). Because of its mixture of European and American perspectives, Modernism Revisited will be of vital interest to students and scholars of American literature and Modernism in general and of twentieth-century comparative literature and art.Table of ContentsAcknowledgements Paul Scott DERRICK: Introduction I. Reflections on Modernity: The Aura of Modernism Marjorie PERLOFF: The Aura of Modernism II. Transgressing Boundaries: Some Modernists Revisited Barry AHEARN: Frost’s Sonnets, In and Out of Bounds Hélène AJI: Pound and Williams: The Letters as Modernist Manifesto Zhaoming QIAN: Pao-hsien Fang and the Naxi Rites in Ezra Pound’s Cantos Viorica PATEA: T. S. Eliot’s The Waste Land and the Poetics of the Mythical Method Isabelle ALFANDARY: Poetry as Ungrammar in E. E. Cummings’ Poems Bart EECKHOUT: Wallace Stevens’ Poetry of Resistance III. Strategies of Renewal: Modernism in a Broader Context Gudrun M. GRABHER: In Search of Words for “Moon-Viewing”: The Japanese Haiku and the Skepticism towards Language in Modernist American Poetry Ernesto SUÁREZ-TOSTE: Spontaneous, not Automatic: William Carlos Williams versus Surrealist Poetics Manuel BRITO: Instances of the Journey Motif through Language and Selfhood in some Modernist American Poets Heinz ICKSTADT: For Love and Language: The Poetry of Robert Creeley Charles ALTIERI: Modernist Realism and Lowell’s Confessional Style Notes on Contributors Index

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Book SynopsisAprès une introduction synthétique offrant une vue d'ensemble de l'œuvre de Georges Perec et de sa réception critique, le livre met en lumière la diversité des genres, des registres et des stratégies d'écriture pratiqués par l'auteur de La Vie mode d'emploi. L'enjeu dépasse les questions souvent débattues du mélange des genres, du métissage ou de l'hybridation. Il s'agit avant tout de dialogues, de la prise en compte des différences radicales des discours en présence, notamment entre fiction et autobiographie. Face à une œuvre foncièrement polymorphe, l'approche se veut multipolaire et résolument ouverte, refusant toute clôture générique, thématique ou biographique. Ainsi, l'examen approfondi d'un livre comme W ou le souvenir d'enfance éclaire la complexité des relations entre texte et péritexte. L'accent mis sur le montage de récits antithétiques donne lieu à une approche comparatiste: de Faulkner à Barthes et Robbe-Grillet. L'importance accordée au dialogue des genres permet d'inscrire l'œuvre dans le contexte plus large de la Nouvelle Autobiographie. Souligner le rôle primordial des contraintes ouvre sur des problèmes théoriques relatifs aux différentes stratégies de lecture mises en jeu. La nouvelle place donnée à l'espace textuel conduit à réfléchir sur un aspect longtemps négligé de la poétique perecquienne : la dimension scriptographique. Celle-ci n'est plus perçue comme une composante externe et contingente (paratextuelle), mais participe pleinement de la textualité de l'œuvre.Table of ContentsI. Perec hétérographe II. Les quatre champs III. Une nouvelle autobiographie IV. L’abc de l’espace: du péritexte au texte V. W ou le souvenir d’en face VI. Parcours de lecture: le texte virtuel VII. Lisibilité du texte contraint/ lecturabilité des contraintes VIII. La rotation des clôtures Bibliographie

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Book SynopsisA l’heure où l’œuvre de Georges Bataille a acquis une nouvelle dimension avec la publication de ses romans et de ses récits dans la Pléiade, il est temps de reconnaître toute son importance au mot de poésie qui, dans son œuvre, éclaire le mieux le rapport complexe que cet auteur entretint avec la littérature, tous genres confondus. Bien que le temps soit révolu où les études critiques consacrées à Bataille se contentaient, quand elles prenaient la peine de le faire, de reléguer la poésie au rang de question mineure, force est de constater que celle-ci reste encore marginalisée et mal comprise dans les études les plus récentes. La méditation de Bataille n’est pas d’un bloc. Fragmentaire, elle est plutôt faite de reprises incessantes où chaque fois la question de la poésie est rejouée, abordée à partir d’un biais nouveau, comme si Bataille trouvait dans cette multiplication des angles d’attaque la meilleure manière de s’approcher d’un objet qu’il savait le plus fuyant. Ainsi, seront tour à tour envisagés les rapports que Bataille entretint avec le surréalisme et plus particulièrement avec l’écriture automatique ; l’articulation qu’il voulut opérer entre la poésie et l’expérience ; la manière dont il se servit du sacrifice pour penser les modalités de l’écriture de la poésie ; la façon dont il se mit en jeu dans les poèmes et les rapports que cette mise en jeu entretient avec celle qu’il tenta à travers ses fictions ; la question enfin de la communauté avec laquelle ses méditations trouvent peut-être leur plus grand accomplissement, si bien que ce qui se formule alors est sans doute ce qui, de cette œuvre, nous interroge le plus aujourd’hui.Table of ContentsInfluence du surréalisme Dépasser les notions infiniment Poésie et expérience La haine et l’image L’oeuvre sacrifiée La poésie et la nuit Se mettre en jeu Vers une communauté poétique Bibliographies

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Book SynopsisThis volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the “classical” avant-garde cinema of the 1920s, to new trends emerging in the 1950s and 1960s and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as “film”, at the same time as reconsidering the applicability of the label “avant-garde”, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines.Table of ContentsPreface Abstraction, Surrealism, Futurism: The Cinema of the Historical Avant-Garde R. Bruce ELDER: Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film A.L. REES: Frames and Windows: Visual Space in Abstract Cinema Alexander GRAF: Berlin - Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s Rudolf E. KUENZLI: Man Ray’s Films: From Dada to Surrealism Michael KORFMANN: On Mário Peixoto’s Limite Tami M. WILLIAMS: Dancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac Marina BURKE: Mayakovsky: Film: Futurism Post-War American and European Experiments Maureen TURIM: The Interiority of Space: Desire and Maya Deren Inez HEDGES: Stan Brakhage’s Film Testament: The Four Faust Films William WEES: Light-Play and the Aesthetics of Avant-Garde Film Yvonne SPIELMANN: Paul Sharits: from Cinematic Movement to Non-directional Motion Pierre SORLIN: Changes in experimental filmmaking between the 1920s and the 1960s: On Luis Buñuel Bart KEUNEN and Sascha BRU: It’s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema Nicky HAMLYN: Peter Kubelka’s Arnulf Rainer Tania ØRUM: Danish Avant-Garde Filmmakers of the 1960s: Technology, Cross-aesthetics and Politics New Technologies and Media Convergence: The Contemporary Avant-garde Film Martine BEUGNET: French Experimental Cinema: the Figural and the Formless – Nicolas Rey’s Terminus for you (1996) and Pip Chodorov’s Charlemagne 2: Piltzer (2002) Frédérique DEVAUX: The Stammering Frame: on recent French and Austrian Film Experiments Ursula BÖSER: Inscriptions of Light and The ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia Günter BERGHAUS: From Video Art to Video Performance: The Work of Ulrike Rosenbach Margit GRIEB: New Media and Feminist Interventions: Valie Export’s Medial Anagrams Jonathan WALLEY: The Paracinema of Anthony McCall and Tony Conrad List of Illustrations About the Authors Index

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Book SynopsisRe-Thinking Europe sets out to investigate the place of the idea of Europe in literature and comparative literary studies. The essays in this collection turn to the past, in which Europe became synonymous with a tradition of peace and tolerance beyond national borders, and enter into a critical dialogue with the present, in which Europe has increasingly become associated with a history of oppression and violence. The different essays together demonstrate how the idea of Europe cannot be thought apart from the tension between the regional and the global, between nationalism and pluralism, and can therefore be re-thought as an opportunity for an identity beyond national or ethnic borders. Engaging contemporary discourses on hybrid, postcolonial, and transnational identity, this volume shows how literature can function as both a vital tool to forge new identities and a power subversive of such attempts at identity-formation. Like Europe, it is always marked by the tension between integration and resistance. The book will be of interest to students and scholars of modern literature, comparative literature, and European studies, as well as people concerned with cultural memory and the relation between literature and cultural identity.Table of ContentsNele BEMONG, Mirjam TRUWANT, and Pieter VERMEULEN: Introduction: Europe, in Comparison Part I. Beyond the Nation? Inter-, Trans-, and Hypernational Identities Matthijs DE RIDDER: Europeanism in One Country: August Vermeylen, Paul van Ostaijen, and the International Approach to Nationalism Beatrijs VANACKER: The Histoire anglaise: Towards a Cosmopolitan View of the Other? David DAMROSCH: Global Regionalism Michael BOYDEN: Why the World Is Never Enough: Re-Conceptualizing World Literature as a Self-Substitutive Order Lieven D’HULST: Translation and Its Role in European Literatures: Some Questions and Answers Ben VAN HUMBEECK: The (Im)Possibilities of a European Literary History: The Case of Flanders Part II. Performing Transnational Identity Nagihan HALILOĞLU: Re-Thinking Ottoman Empire: East-West Collaboration in Orhan Pamuk’s The White Castle Mary STEVENS: Kader Attia’s Arabesque: Inscribing Islam in a Provincialized Europe Reindert DHONDT: The Old World through a Baroque Mirror: Europe in the Work of Alejo Carpentier Silvana MANDOLESSI: Cultural Hierarchies, Secondary Nations: The Tension between Europe and “Minor” Cultures in Witold Gombrowicz and Jorge Luis Borges Kari VAN DIJK: Arriving in Eurasia: Yoko Tawada Re-Writing Europe Part III. Conjuring the Past, Imagining Europe Iannis GOERLANDT: Staging a European Republic of Letters: (Supra-) National Concepts of Literature in Arno Schmidt’s Early Prose Ortwin DE GRAEF: Epistle to the Europeans (On Not Reading Kipling) Herbert GRABES: Prodesse et Delectare: The World of National Literatures and the World of Literature Jeppe ILKJÆR: The Late Europe: Elias Canetti and the Ordering of Time and Space in Auto Da Fé Iulius HONDRILA: Praque in Victorian Fiction: An Imagological Approach Bart KEUNEN: European Identity from Normality to Immanence Notes on Contributors

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Book SynopsisThis is a collection of difficult-to-find and typically early commentary on Conrad’s life and works. The selections contained shed light on Conrad’s life and works, as well as the way in which his works were promoted to the public. Selections include those by the American novelist Christopher Morley and the Irish novelist Liam O’Flaherty. Also included is a previously unpublished essay by Conrad’s friend Richard Curle. Of particular interest are the promotional materials, which are collected together for the first time and reveal how Conrad was perceived by the general reading public and how he was marketed by his publishers.Table of ContentsForeword Acknowledgements Abbreviations Biography Burton RASCOE, et al.: New York Greets Joseph Conrad on His First Visit to America Christopher MORLEY: Conrad and the Reporters Sir Hugh CLIFFORD: A Talk on Joseph Conrad and His Work Florence DOUBLEDAY: From Episodes in the Life of a Publisher‘s Wife Édouard RODITI: Meetings with Conrad James WHITAKER: Joseph Conrad at Stanford-le-Hope Appreciations Porter GARNETT: In Memoriam Joseph Conrad, Obiit August 3, 1924: The Honour of Labour A Tribute to a Great Seafarer Liam O‘FLAHERTY: Joseph Conrad: An Appreciation Early Criticism John Cowper POWYS: From Essays on Joseph Conrad and Oscar Wilde John Herman RANDALL: Joseph Conrad: His Outlook on Life G. JEAN-AUBRY: “Introduction” to Twenty Letters to Joseph Conrad Richard CURLE: The History of The Nigger of the “Narcissus”: Human, Literary, Bibliographical V. WALPOLE: Conrad‘s Method: Some Formal Aspects Publicity James HUNEKER, E. F. SAXTON, and Richard CURLE: Joseph Conrad Joseph Conrad – A Prospectus: A Biographical Sketch & A List of His Books Published by J. M. Dent & Sons Ltd. Joseph Conrad: A Prospectus of the Uniform Edition of Joseph Conrad‘s Works Joseph Conrad: A Brief Chronicle Joseph Conrad: The Greatest Living Artist in English Prose Joseph Conrad: A Sketch with a Bibliography A Man Who Sailed the Seven Seas and Wrote His Tales to the Boom of the Distant Surf The New Kent Edition of Joseph Conrad Index

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Book SynopsisThe controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford’s work, life, and contacts, to broader concerns of his time. The present book is part of a large-scale reassessment of his roles in literary history. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’; and Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’. In these, as in most of his books, Ford renders and analyses the crucial transformations in modern society and culture. One of the most striking features of his career is his close involvement with so many of the major international literary groupings of his time. In the South-East of England at the fin-de-siècle, he collaborated for a decade with Joseph Conrad, and befriended Henry James and H. G. Wells. In Edwardian London he founded the English Review, publishing these writers alongside his new discoveries, Ezra Pound, D. H. Lawrence, and Wyndham Lewis. After the war he moved to France, founding the transatlantic review in Paris, taking on Hemingway as a sub-editor, discovering another generation of Modernists such as Jean Rhys and Basil Bunting, and publishing them alongside Joyce and Gertrude Stein. Besides his role as contributor and enabler to various versions of Modernism, Ford was also one of its most entertaining chroniclers. This volume includes twelve new essays on Ford’s engagement with the literary networks and cultural shifts of his era, by leading experts and younger scholars of Ford and Modernism. Two of the essays are by well-known creative writers: the novelist Colm Tóibín, and the novelist and cultural commentator Zinovy Zinik.Table of ContentsMax SAUNDERS: General Editor’s Preface Andrzej GASIOREK and Daniel MOORE: Introduction: Transitions, Continuities, Networks, Nuclei John ATTRIDGE: ‘We Will Listen to None but Specialists’: Ford, the Rise of Specialization, and the English Review Rob HAWKES: Personalities of Paper: Characterisation in A Call and The Good Soldier Colm TÓIBÍN: Outsiders in England and the Art of Being Found Out Andrzej GASIOREK: ‘Content to be Superseded’?: Ford in the Great London Vortex Alan MUNTON: The Insane Subject: Ford and Wyndham Lewis in the War and Post-War David TROTTER: Ford Against Lewis and Joyce Max SAUNDERS: Ford and Impressionism Nick HUBBLE: The Origins of Intermodernism in Ford Madox Ford’s Parallax View Isabelle BRASME: Between Impressionism and Modernism: Some Do Not . . ., a poetics of the Entre-deux Andrew FRAYN: ‘This Battle Was not Over’: Parade’s End as a Transitional Text in the Development of ‘Disenchanted’ First World War Literature Zinovy ZINIK: Ford Madox Ford: Mentors, Disciples, and a Ring of Mail Conspirators David JAMES: By Thrifty Design: Ford’s Bequest and Coetzee’s Homage Contributors Abstracts Abbreviations

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Book SynopsisEncore plus peut-être qu’un Michel Houellebecq (que l’on voit rarement à la télévision), Frédéric Beigbeder est le symbole d’une nouvelle génération de romanciers qui agace l’intelligentsia. Ainsi, la constatation initiale qui se trouve à l’origine de ce volume est qu’à cause de sa personnalité et de ses activités multiples, Beigbeder existe uniquement pour ses innombrables fidèles à travers le monde qui se satisfont de la lecture de ses romans. Pour les autres dans leur grande majorité - les critiques, les universitaires, les intellectuels – il ne mérite aucune attention sérieuse, ses œuvres n’existent pas. Or, en ce qui nous concerne, l’équation n’est pas si simple. D’où les pages qui suivent. Ce premier volume entièrement consacré à Beigebder réunit donc des romanciers, des journalistes et des universitaires des deux côtés de l’Atlantique. Il contient également un entretien et une correspondance inédits de Beigbeder.Table of ContentsAlain-Philippe DURAND : Frédéric Beigbeder et ses doubles Frédéric BEIGBEDER : Correspondance avec Alain-Phillipe Durand Alain-Philippe DURAND : Entretien avec Frédéric Beigbeder Olivier LE NAIRE : Le croisé et le rusé, entretien avec Frédéric Beigbeder et Richard Millet Frédéric BEIGBEDER : Pour un nouveau nouveau roman Benoît DUTEURTRE : Beigbeder et son contraire Philippe VILAIN : L’égo beigbederien Alain-Phillippe DURAND : Défense de Narcisse (Frédéric Beigbeder) Ralph SCHOOLCRAFT III : Pour prendre au sérieux Frédéric Beigbeder Martine DELVAUX : L’égoisme romantique de Frédéric Beigbeder Naomi MANDEL : Fiction et fidélité : Windows on the World William CLOONAN : L’image comme image : le (possible) triomphe du Simulacre dans l’univers de Beigbeder Yves DE LA QUÉRIÈRE : L’écume des nuits : Vacances dans le coma de Frédéric Beigbeder Sabine VAN WESEMAEL : Le potentiel transgressif de l’art contemporain Richard MCINTYRE : Shopping avec Octave Résumés

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Book SynopsisDislocation and the need for radical reorientation are central experiences in 20th-century German history. Much of German culture has also consisted of reflections on and responses to the historical caesurae of 1933, 1945 and 1989-90, and the massive political, social and economic changes that accompanied them. In the first instance, dislocation and reorientation are to be understood in the physical sense, i.e. the loss of their homes in Germany, Austria and Czechoslovakia by Jewish and Communist émigrés after 1933, by Germans in Eastern Europe after 1945, and by disaffected individuals leaving the GDR for the West between 1949 and 1989. But they are also ideological, social and cultural experiences. This volume seeks to explore the parallels and differences between the impact on these groups of their sense of loss and their struggle to establish new identities after major upheavals. What their diverse experiences have in common is the sense of social and intellectual dislocation, even amongst those whose physical location did not change for long periods of time. Drawing on the ideas of various social and cultural theorists, and adopting a variety of approaches, our contributors examine how not only dislocation but also reorientation has been articulated, both in political discourse and across the cultural spectrum from fiction to life writing, from poetry to film.Table of ContentsAxel GOODBODY, Pól Ó DOCHARTAIGH, Dennis TATE: Introduction Volker BRAUN: Aus: Machwerk oder Das Schichtbuch des Flick von Lauchhammer Anna CHIARLONI: A polso teso. Portrait der Poesie Volker Brauns Axel GOODBODY: Political dislocation and poetic reorientation in Volker Braun’s Bodenloser Satz Karen LEEDER: ‘Totentänze’: Volker Braun’s late poems – Postscripts on the end of utopia Gerd LABROISSE: Überlegungen zu Volker Brauns Rede zur Verleihung des Schiller-Gedächtnispreises 1992: ‘Ist das unser Himmel? Ist das unsre Hölle?’ Daniel AZUÉLOS: Die deutschsprachige Exilpresse und das Attentat des 20. Juli 1944 Geoffrey V. DAVIS: ‘The fog of peace and war’: German exiles in postcolonial Anglophone writing Wolfgang EMMERICH: Odradek – ein Bewohner des Dritten Raums. Mit Franz Kafka unterwegs zu transkulturellen Lektüren Helen FEHERVARY: Kipling and others: Literary allusions in Anna Seghers’s ‘Die schönsten Sagen vom Räuber Woynok’ Peter HUTCHINSON: Stefan Heym’s exile poetry as the foundation for his later fiction Hamish RITCHIE: Kurt Schwitters in Ambleside Gisela HOLFTER: Ein Fallbeispiel zur Rückkehrproblematik aus dem Exil – Ernst Lewy (1881-1966) Deborah VIETOR-ENGLÄNDER: Résistance, Restauration und deutsch-jüdische West-Remigranten: Alfred Kantorowiczs Schauspiel Die Verbündeten in der DDR Ian CONNOR: German expellees in the SBZ/GDR and the Oder-Neisse ‘peace border’ Peter BARKER: Dislocation and reorientation in the Sorbian community (1945-2008) Dennis TATE: Von der Fröhlichkeit im Schrecken: Fred Wander’s celebration of dislocation Mike DENNIS: A people’s game: Football in the German Democratic Republic Peter THOMPSON: Heimatlos zu Hause: Bloch, Žižek and the dislocated Heimat Dieter SEGERT: Ausreisen und Ausflüge – Geschichten aus dem letzten Jahr der DDR Roger WOODS: Retold lives: East German autobiography after East Germany Gerrit-Jan BERENDSE: Verlust der Mitte: Wolf Biermanns Abnabelung von seinem Topos Berlin Christine COSENTINO: Ingo Schulze’s Handy. Thirteen Tales in the Old Style: Another look at East(ern) Germanness and identity formation Stuart PARKES: ‘Home soured home?’ Dislocation as a motif in the works of Martin Walser Colin B. GRANT: Without a name: Kurt Drawert and the dislocated self Gert-Joachim GLAEßNER: Westernisation, Europeanisation, and civil society: Has Thomas Mann’s vision of a European Germany come true? Ian Wallace Bibliography Index of Contributors

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Book SynopsisMolloy est sans doute l’une des œuvres beckettiennes qui a suscité le plus d’interprétations variées et parfois même contradictoires. Modalités po(ï)étiques de configuration textuelle : le cas de « Molloy » de Samuel Beckett prend comme point de départ cet état de fait, l’interroge et propose que la texture du roman en est largement responsable. En tant qu’artefact langagier, Molloy exploite exemplairement les possibilités contextuelles de signification de la langue française, aussi bien linguistiquement que littérairement. L’ouvrage procède à une série de micro-lectures qui réévaluent à fond la fonction textuelle de ce qu’on convient d’appeler les « jeux de mots » de Molloy. Il montre que les manières dont ces « jeux » sont inscrits dans leurs environnements restreints et étendus favorisent l’actualisation des significations multiples. Ces possibilités plurielles de signification sont poursuivies conséquemment non seulement à travers le Molloy français, mais aussi à travers les rapports que celui-ci entretient avec le Molloy anglais, d’une part, et avec des textes beckettiens et non-beckettiens pré-Molloy, d’autre part. Les « jeux de mots » du roman se découvrent ainsi être les pierres angulaires d’une complexe configuration architexturale. L’étude de cas de Molloy que présente Modalités po(ï)étiques de configuration textuelle est potentiellement pertinente pour l’ensemble du corpus beckettien dans la mesure où la méthode intégrative d’analyse utilisée est susceptible de révéler de nouvelles données concernant la particularité de texturation de ce corpus, de même que des œuvres individuelles qui le composent. L’ouvrage s’adresse aux lecteurs de Beckett, mais aussi à ceux qui s’intéressent à des questions touchant à la traduction, voire l’auto-traduction littéraire, à l’intertextualité et aux approches linguistiques de la littérature qui reposent sur la sémantique cognitive et interprétative.Table of ContentsIntroduction Chapitre 1. La critique beckettienne et les « jeux de mots » de Molloy Chapitre 2. Po(ï)éticité et intra-textualité dans Molloy Chapitre 3. Molloy et la po(ï)éticité métaphorique Chapitre 4. Molloy/Molloy : (auto-)traduction et po(ï)éticité intra-inter-textuelle Chapitre 5. Auto-textualité et inter-textualité po(ï)étiques dans Molloy Conclusions générales Annexes Bibliographie d’ouvrages cités

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Book SynopsisAlthough it has often been pointed out that the protagonists of Joseph Conrad’s novels frequently fail in what they attempt to achieve, the forces that oppose them have rarely been examined systematically. Furthermore, no sustained attempts have been made to rigorously address the central philosophical issue the characters’ predicament raises: that of the freedom-of-the-will. This interdisciplinary study seeks to remedy this neglect by taking recourse not only to the philosophical debate about free will and determinism but also to the relevant historical, economic, scientific, and literary discourses in the Victorian and Early-Modernist periods. Against this background a paradigmatic analysis of three of Conrad’s most significant novels – Heart of Darkness, Nostromo, and The Secret Agent – investigates the writer’s position in the free will and determinism debate by identifying certain recurring themes in which the freedom-of-the-will problem manifests itself. Light is thereby also thrown on a central Conradian paradox: how Conrad can insist on morality and moral responsibility, which presupposes the existence of free will, in a materialist-deterministic world, which denies it.

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Book SynopsisAndreï Makine est né à Krasnoïarsk en Sibérie. Son quatrième roman, Le Testament français (1995) lui a valu la reconnaissance internationale. Les auteurs de ce recueil s’attachent à sonder la poétique et la symbolique makiniennes dans des analyses méticuleuses, en se concentrant notamment sur les dix premiers romans. Les approches méthodologiques – psychanalytiques, sociologiques, culturelles, historiques, poético-rhétoriques, interdisciplinaires, musico-littéraires – offrent des angles de lecture jusque-là négligés et ouvrent des pistes inédites de recherche future pour l’œuvre de cet auteur essentiel de la littérature contemporaine française. Le présent ouvrage réunit, en outre, des articles sur les romans encore peu analysés.Table of ContentsMurielle Lucie Clément: Andreï Makine – Introduction Marco Caratozzolo: La sémiotique de l’île dans La Femme qui attendait d’Andreï Makine Adnen Jdey: L’Amour, le temps. Une esthétique de l’attente Arnaud Vareille: Du drame de devenir écrivain : La Confession d’un porte-drapeau déchu d’Andreï Makine Ewa Malgorzata Wierzbowska: Un roman au rythme de staccato. La Terre et le ciel de Jacques Dorme de Makine Murielle Lucie Clément: Voix et chant chez Andreï Makine Thierry Laurent: Andreï Makine et le bilan de l’URSS Agata Sylwestrzak-Wszelaki: La Russie et la France. Le travail des chronotopes dans les romans d’Andreï Makine Stéphanie Bellemare-Page: L’écriture mise en œuvre : métatextualité chez Andreï Makine Maria Margherita Mattioda: Paroles de femmes : silences et réticences dans l’œuvre d’Andreï Makine Juliette Petion: Un cas de genre littéraire mal compris : Le Testament français d’Andreï Makine Tomasz Swoboda: « Un morceau de nourriture ». Sur quelques accessoires de l’inceste chez Makine et Bataille Olga Wrońska: Le Crime d’Olga Arbélina versus La Pianiste d’Elfriede Jelinek : vers une poétique psychanalytique de l’inceste Ali Chibani: Mémoires d’entre les croix Résumé

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Book SynopsisThis innovative volume discusses the significance of home and global mobility in contemporary diasporic fiction written in English. Through analyses of central diasporic and migrant writers in the United Kingdom and the United States, the timely volume exposes the importance of home and its reconstruction in diasporic literature in the era of globalization and increasing transnational mobility. Through wide-ranging case studies dealing with a variety of black British and ethnic American writers, Home, Identity, and Mobility in Contemporary Diasporic Fiction shows how new identities and homes are constructed in the migrants’ new homelands. The volume examines how diasporic novels inscribe hybridity and multiplicity in formerly uniform spaces and subvert traditional understandings of nation, citizenship, and history. Particular emphasis is on the ways in which diasporic fictions appropriate and transform traditional literary genres such as the Bildungsroman and the picaresque to explore the questions of migration and transformation. The authors discussed include Caryl Phillips, Jamal Mahjoub, Mike Phillips, Hari Kunzru, Kamila Shamsie, Benjamin Zephaniah, Abdulrazak Gurnah, Cynthia Kadohata, Ana Castillo, Diana Abu-Jaber, and Bharati Mukherjee. The volume is of particular interest to all scholars and students of post-colonial and ethnic literatures in English.Table of ContentsAcknowledgements Introduction: Diaspora, Home, Writing Part One: Black British Perspectives From Black Britain to the Caribbean: The Return of the (Im)Migrant in Caryl Phillips’s A State of Independence Exile, History, and Migrancy in Jamal Mahjoub’s The Carrier The Hybridization of Europe in Mike Phillips’s A Shadow of Myself The Politics of Self-Making in Post-Colonial Fiction: The Bildung of Pretty Bobby in Hari Kunzru’s The Impressionist Narratives of Diaspora and Trauma in Kamila Shamsie’s Salt and Saffron Britain, “Home”, and Diaspora in the Refugee Novels by Benjamin Zephaniah, Abdulrazak Gurnah, and Caryl Phillips Part Two: Diasporic Americans The Hybridity of the Asian American Subject in Cynthia Kadohata’s The Floating World Migration and Diaspora in Ana Castillo’s Sapogonia Writing Diasporic Identity in Diana Abu-Jaber’s Crescent Transnational Travel in Bharati Mukherjee’s Desirable Daughters Home, Transnationalism, and Transformation in Bharati Mukherjee’s Leave It to Me Conclusion Bibliography Index

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Book SynopsisDisappearing Men examines the complex and rebellious representations of gender in the work of several writers of ‘devolutionary’ Scottish fiction in the period 1979 to 1999. The study focuses on the context of a ‘crisis in masculinity’ accompanying the rapidly changing male role in the period, concluding that men often disappear from sight in this writing, highlighting issues of male insecurity and female disorientation in a new gender landscape. Hence the novels examined here by authors James Kelman, Jancie Galloway, Jackie Kay, A.L. Kennedy and Alan Warner, strongly challenge the stereotype of the Scottish ‘hardman’ and his dominance in 20th century Scottish fiction. Disappearing Men dissects this challenge by giving major consideration to the relationship between the innovative literary forms often found in this writing and the concepts of selfhood they give rise to. The possibilities inherent in these texts of reimagining gender identity and relations make them important contemporary documents of our struggles with realising selfhood and relations with others. A sustained and intimate analysis, this monograph will be of crucial interest to those concerned with issues of gender and representation in our rapidly changing era.Trade Review”… an invaluable addition to inquiries into the value and significance of dwelling for Scottish writers since the mid-nineteenth century, but also commendable for the method by which it outlines developments in ecological thought from this period onwards…” in: Scottish Literary Review, Vol. 2, No. 2, 2011Table of ContentsAcknowledgements Introduction: Dissonant Selves and the Literature of Gender Disorientation Chapter One: James Kelman – “that was him, out of sight”: Masculine Models and Limitations Chapter Two: Janice Galloway – “Defying Gravity”: Escaping the Attractions of Patriarchy Chapter Three: Being Between: Passing and the Limits of Subverting Masculinity in Jackie Kay’s Trumpet Chapter Four: A.L. Kennedy – Indelible Belief: The Quest for Faith in Uncertainty Chapter Five: Alan Warner: Escape from Masculinity Afterword: “Burying the Man That Was” Bibliography Index

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Book SynopsisQuelles fonctions l’homme occidental assigne-t-il à la littérature ? Quelle légitimité pour la littérature et la fiction dans notre monde ? Pour le découvrir, il fallait la radicalité de Samuel Beckett, dont l’œuvre constitue une mise à nu patiente et progressive des fondements de la littérature. À travers l’étude de l’autoréférence, de l’autoréflexivité, et de tout ce qui fait de l’écriture de Beckett une écriture au miroir, La Littérature face à elle-même montre que l’auteur de Fin de partie remet à l’ordre du jour une question que déjà posaient Dante, Cervantès et les romantiques allemands, entre autres. La littérature n’a cessé de se mirer, de s’admirer, de se critiquer depuis qu’elle s’est constituée en système. Mais l’autonomie du champ littéraire est un leurre, et l’examen de l’œuvre beckettienne, pourtant si centrée sur elle-même, permet de définir ce qui est exprimé, ce qui est montré dans l’écriture spéculaire : si ce n’est pas le monde, c’est toutefois quelque chose de bien réel…Table of ContentsReferences des editions utilisees Introduction Première Partie: jalons pour une histoire de la littérature spéculaire Introduction Chapitre Premier: Beckett, heritier et revelateur d’une tradition du theatre speculaire Chapitre II: Beckett, heritier et revelateur de l’autoreflexivite des genres narratifs Deuxième Partie: la constitution de la littérature comme système autoréférentiel Chapitre III: Rappels: Beckett et l’autonomie de la litterature Chapitre IV: L’œuvre de Beckett et l’evolution autoreferentielle des genres litteraires Troisième Partie: Beckett et la représentation spéculaire du monde et du sujet Chapitre V: Beckett face a la tradition metaphysique de l’autoreflexivite : la place du monde dans la litterature speculaire. Chapitre VI: Le sujet beckettien au miroir de l’ecriture Quatrième Partie: la littérature au miroir de la mélancolie Chapitre VII: Autoreflexivite et catastrophe traumatique Chapitre VIII: Autoreference, aporie et aphasie : l’adoption paradoxale de la litterature comme langage Chapitre IX: Melancolie et autoreflexivite Conclusion Bibliographie: ouvrages et articles cites et utilises Index des auteurs Index des œuvres citees

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Book SynopsisThis volume is of interest for lovers and students of Jeanette Winterson’s writing and introduces for the first time a book-length examination of the love stories she has created. Each main novel, from Oranges Are Not the Only Fruit to The Stone Gods, is analysed in detail and theorists ranging from Derrida, to Freud, to Kristeva are invoked to help discuss the paradox that is written into the passion in these works. Love, it is argued here, is central to her writing and this book also unfolds the influences and aspirations that have shaped her style.Table of ContentsIntroduction The Ties That Bind: Oranges Are Not the Only Fruit Love, Testing the Limits of Freedom in The Passion Writing Strategies: Love, Politics and Art in Sexing the Cherry Undying Love: Written on the Body The Language of Love: Art and Lies Cheating Hearts: Gut Symmetries Old and New Love Stories: The.Powerbook Divided Selves In Lighthousekeeping and The Stone Gods Bibliography Index

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Book SynopsisSoupçonnée d’imposture dès sa première rentrée littéraire, accusée d’être un homme âgé publiant sous un pseudonyme invraisemblable, Amélie Nothomb est une auteure qui – plus que d’autres – a dû s’inventer. Dans Les Identités d’Amélie Nothomb, Mark D. Lee revient sur les circonstances qui ont marqué les débuts d’une carrière extraordinaire et pour la première fois, il confronte les multiples constructions médiatiques de notre ‘barge belge’ avec l’énigme de l’invention identitaire qui se déploie dans son écriture fascinante, surtout dans Métaphysique des tubes. A travers des analyses accessibles aux spécialistes comme aux amateurs, Lee trace les différentes variations d’un roman familial dans la fiction de l’auteure et il explore l’élaboration et l’échec de sa version japonaise dans ses œuvres autobiographiques. Juxtaposant interviews et récits littéraires, Lee identifie ensuite un ‘désastre onomastique’, point de départ et fondement de la quête identitaire nothombienne et explore son retour unheimliche – étrangement inquiétant – dans la représentation de la sexualité, de la nationalité, et jusque dans la scène même de l’écriture. Entre baptêmes et ‘dé-baptêmes’, entre noyades, exorcismes et fantasmes nippons, Les Identités d’Amélie Nothomb est une étude fondamentale pour ceux et celles qui veulent comprendre la question cruciale de l’identité chez cette auteure.Table of ContentsRemerciements Introduction L’identité médiatique L’invention littéraire Orphelines et Orphelins: Le roman familial chez Amélie Nothomb Noyades et baptêmes: morts et naissances En conclusion: L’apatride belge Bibliographie

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Book SynopsisImpotence and Making in Samuel Beckett’s Trilogy is situated at the intersection of the aesthetic, socio-political and theoretical construction of being and not-being; it is about making the self, making others, and making words, set against being unable to make the self, others and words. Concentrating on Samuel Beckett’s prose works, though also focusing on some of his dramatic works, the book aims to problematize the categories of ‘impotence’ and ‘making’ by showing Beckett’s quasi-deconstructive treatment of them as seen through his narrators’ images of being unable to make self, other creatures and words (impotence), along with his narrators’ images of making self, other creatures and words (making). By demonstrating that his narrators, while being impotent, nevertheless gestate and produce new entities from their bodies in the same way as a mother does a child, the book aims to reveal how, for Beckett’s narrators, creativity in its widest sense is envisaged.Table of ContentsIntroduction Trilogy Bodies Trilogy Words Ambiguous Bodies Ambiguous Words Bodies and Words in How It Is Conclusion Bibliography Index

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Book SynopsisThe controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford’s work, life, and contacts, to broader concerns of his time. Modernist periodicals and editorial theory have been very productive areas in recent research. This volume focuses on Ford and editing. Ford was one of the greatest editors of Modernist magazines. He founded the English Review in Edwardian London, publishing Henry James, Joseph Conrad, H. G. Wells, Ezra Pound, Wyndham Lewis, and D. H. Lawrence. His editorial relationships with all of these writers are examined in detail here, as are those with Jean Rhys, Ernest Hemingway, and Basil Bunting, connected with the transatlantic review launched by Ford in post-war Paris, which also carried experimental work by James Joyce, Gertrude Stein, and Tristan Tzara. These seventeen essays bring together distinguished scholars and poets, as well as younger experts on Modernism and its magazine culture. This collection provides a wealth of new research on the management, cultural politics, and editorial stance of Ford’s magazines; on the impact of his editorial contacts on his own and others’ work; and on editorial approaches to his writing, including his best-known novels, The Good Soldier and Parade’s End.Table of ContentsMax Saunders: General Editor’s Preface Jason Harding: Introduction Philip Horne: Henry James and the English Review Gene M. Moore: Ford as Editor in Joseph Conrad’s ‘The Planter of Malata’ Nick Hubble: A Music-Hall Double Act: Fordie and Wells’s English Review George Hyde: Lawrence, Ford, Strong Readings, and Weak Nerves Seamus O’Malley: The Ferociously Odd, Mutually Beneficial Editorial Relationship of Ford and Wyndham Lewis Peter Robinson: ‘Written at least as well as prose’: Ford, Pound, and Poetry Richard Price: ‘His care for living English’: Ford Madox Ford and Basil Bunting Elizabeth O’Connor: Jean Rhys’s Quartet: A Re-inscription of Ford’s The Good Soldier Nora Tomlinson: ‘An old man mad about writing’ but hopeless with money: Ford Madox Ford and the Finances of the English Review Simon Grimble: ‘A few inches above the moral atmosphere of these islands’: The Perspectives of the English Review John Attridge: Liberalism and Modernism in the Edwardian Era: New Liberals at Ford’s English Review Stephen Rogers: The transatlantic review (1924) Andrzej Gasiorek: Editing the transatlantic review: Literary Magazines and the Public Sphere Elena Lamberti: ‘Wandering Yankees’: The transatlantic review or How the Americans Came to Europe Martin Stannard: Cutting Remarks: What Went Missing from The Good Soldier Isabelle Brasme: ‘A caricature of his own voice’: Ford and Self-Editing in Parade’s End Ashley Chantler: Editing Ford Madox Ford’s Poetry Contributors Abstracts Abbreviations

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Book SynopsisCentral to Samuel Beckett’s literature is a wilful voice which insists on speaking and being heard. Beckett described it as “a truly exterior voice”, and in the plays he separates voice from the body and turns it into an audible character. Previous critical studies have explored the enigma of this voice, its identity, source and location, but little attention has been given to the voice as protagonist. This volume traces the genesis of the performative voice in the early prose and charts its trajectory throughout the dramatic oeuvre in a readable narrative which generates fresh insights into some of Beckett’s most remarkable and impenetrable plays. It examines the use of embodied and acousmatic – ‘out of body’ – voices in the different media of theatre, radio and television; the treatment of voice in relation to music, image and movement; and the ‘shifting threshold’ between the written and spoken word. The analysis comprises a detailed study of dramatic speech and technical aspects of sound reproduction, making it relevant for all scholars and students with an interest in textual and performance issues in Beckett’s drama.Table of ContentsAcknowledgements Abbreviations Introduction I. A Voice Within and Beyond the Twentieth Century II. Genesis of the Performative Voice III. Re-enacting Voices from the Past Rewinding Memories: Krapp’s Last Tape Talking Ghosts: Embers The Voice Closes In: Eh Joe IV. Voice as Protagonist Voice and Music: Cascando Voice and Image: Not I Voice and Movement: Ghost Trio V. Voice from Page to Stage Script or Text? A Piece of Monologue Voice and Performative Text: Ohio Impromptu Transformation of Voice: Company Conclusion Bibliography Chronology Index

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Book SynopsisModernist literature and art have been dominated by a disinterest in mere empirical and social reality and a discontent with habitualized perception and the world-view of convention, reason, and pragmatism. This anti-realistic attitude originated in the epistemological scepticism of the early 20th century which was even radicalized by the advent of the »linguistic turn«, constructivism, postmodernism, and poststructuralism. Yet it would be a gross simplification to describe the 20th century flatly and globally as an age of anti-realism. Especially in its second half many neo-realist movements were launched, and non-Western literatures (e.g. »magic realism«) challenged Western modernity and its constructivist epistemology. Today, we can not only read many texts which might be attributed to a »postmodernist realism« but may even be watching the rise of a post-postmodernist realism. This vast field of research is discussed in a series of theoretical reflections and case studies of selected texts, movies and the internet which geographically embrace Europe, the USA, Africa and Asia. The volume may be of interest for students and scholars of Comparative Literature, Cultural Studies, and Media Studies as well as for students and experts in the cultures, authors and artists that are covered in the collection of essays.Table of ContentsChristine Baron / Manfred Engel: Introduction / Introduction Realism and Anti-Realism – Terminological Clarifications Christine Baron: Réalisme et antiréalisme. Une généalogie complexe Jean Bessière: Égalité de la mimesis et de l’antimimesis. Quelques notes sur le paradoxe de l’institution de l’œuvre Sieghild Bogumil-Notz: »Laquelle est la vraie?«. La parole hybride de la poésie Modernist Anti-Realism Manfred Engel: Forms and Functions of Anti-Realism in the Literature of High Modernism (Woolf, Proust, Kafka) Micéala Symington: Anti-Realism and the »Livre de peintre«. From Symbolism to Surrealism Timo Kaitaro: Le surréalisme comme réalisme ouvert Variants of Realism After Modernism Monika Schmitz-Emans: »À la recherche de la réalité perdue«. Ambiguous Alliances between Literature and Photography (P. Härtling, C. Nooteboom, M. Vargas Llosa, M. Beyer) Alberto Hernández-Lemus: Gilles Deleuze and Italian Neorealism. The Irruption of the Virtual Nathan P. Devir: Social Action as Neo-Realistic Discourse in Níkos Kazantzákis’s The Last Temptation of Christ (1960) Virgil Nemoianu: Realism and Fantasy in Novels by Kubin, Raspail, and Cărtărescu Rose Hsiu-li Juan: Magic and Realism. The Tribal Imagination in Louise Erdrich’s Novels Tumba Shango Lokoho: La littérature romanesque d’Afrique noire francophone entre réalisme, postcolonialisme et postmodernisme Holger Schulze: Realism as Efficacy. On the Tectonics of Texts in the Web Appendix: The Emergence of Realism in Asia – A Case Study Mun-Yeong Ahn: The Stories of Park Ji-Won. Pragmatic Realism Directed against the Confucian Nobility in 18th-Century Korea Select Bibliography / Bibliographie sélectionnée The Authors / Les Contributeurs

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Book SynopsisTactical Silence in the Novels of Malika Mokeddem, an inquiry into how silence may be used to challenge a gender-differentiated power system, relies on Michel de Certeau’s model of strategies and tactics applied to a postcolonial assessment of both Algerian literature in French as well as Algerian women’s stereotyped silence. This book analyzes the relationship between tactical silence and freedom in the lives of Mokeddem’s female protagonists in all her novels, published between 1990 and 2008. The notion of deliberate silence also lends itself to a discussion of the reader’s efforts in comprehending Mokeddem’s textual silences as well as her exclusion of certain topics from her writings.Table of ContentsAcknowledgements Introduction: Broaching Silence Tactics and Strategies in Algerian Letters Speaking of Silence Manipulating Silence Tactical Silence in Reading Textual Silences and the Reader’s Tactics Conclusion: The Threat of Silence Bibliography Index

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Book SynopsisThis retrospective study examines short fiction in the context of stylistic tradition in New Zealand’s literary history. By exploring the extent to which the major exponents of twentieth-century short fiction extend the traditions of realism and impressionism as initiated by Katherine Mansfield and Frank Sargeson, this study embraces the stylistic diversity of twentieth-century New Zealand short fiction in both Pakeha and Maori traditions.Trade Review”Written with flair and clarity, Joel Gwynne’s book makes an important contribution to scholarship on the New Zealand short story by revealing the limitations of the polarised critical categories that have been used in the past. It constitutes the most substantial extended consideration to date of New Zealand short fiction, and, by offering fresh and nuanced readings of the stories of five major writers, should prove an invaluable resource for scholars and students alike.” - Alistair Fox, Professor of English, University of OtagoTable of ContentsIntroduction Frank Sargeson (1903-1982): “Gold and Quick Silver in the Hollows” Maurice Duggan (1922-1974): “Exegesis to His Cryptic Utterance” Janet Frame (1924-2004) “You Don’t Really Believe in Categories Like That, Do You?” Patricia Grace (1937-): “It’s High and Holy Work” Owen Marshall (1941-): “There’s No Distinction Between Fact and Fiction in the Land of Living Death” Conclusion Bibliography Index

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Book SynopsisThe book examines the discursive construction of the representation of “Europe” in the selected writings of leading Serbian writers and intellectuals in the first half of the twentieth century. In addition to being of particular significance in the process of the genesis of our understanding of Europe across the continent, these several decades were crucial for the discursive construction of “Europe” in Serbian culture: when after the end of the Cold War the debate on Europe became possible again, it was on a discursive level to a large extent determined by the stockpile of images and ideas created between the world wars. The book seeks to answer the following questions: who constructed “Europe”, and with what authority? For whom were these constructions intended? How was this representation validated? What purposes was it meant to serve? Which issues were raised in comparing “Europe” with Serbia, and why? Which textual traditions were the elements of this construction borrowed from? How did the construction of the European other define Serbian self-representation? This volume is of interest for all those working in Slavic or East European studies - especially cultural, intellectual and political history of the Balkans - imagology, and European studies.Trade Review“In short, Serbian conceptions of Europe were as numerous, diverse and contested as the reciprocal perceptions of the Balkans by the Western Europeans of the time. Getting over Europe has succeeded in bringing them together in a productive dialogue. In addition to this, Milutinovic´ ’s captivating style and erudition will appeal to historians as well as to those from literary and cultural studies and social sciences. Finally, the book itself retains a sort of elusiveness, as it functions as an imagological study and a dialectical enquiry, while, at yet another level, it is a study of misunderstandings between Western Europe and Serbia stemming from false dichotomies and prejudices. In the latter capacity, it ultimately offers the hope and possibility of understanding arising from a subtle and non-reductive reading of the conceptions and visions that they can offer to each other.” - Aleksandar Pavlović, University of Belgrade, Serbia, in: European History Quarterly, Vol. 46 ”Milutinović is one of the rare specialists in Balkan cultural studies who could have written such a subtle and insightful study of this topic. […] Milutinović expertly and discreetly brings this background to his text, giving his central arguments a depth and resonance often missing from works dealing with cultural issues relating to the Balkans.” - David A. Norris, University of Nottingham, in: SLAVONICA, 19.1 (April 2013), pp. 86-7 “The author’s careful and nuanced analysis of the interplay between each consecutive image of ‘Europe’ and the respective quest to situate a Serbian self vis-á-vis that image is one of the most compelling features of this study.” - Angelina Ilieva, University of Chicago, in: Slavic and East European Journal 56.2 (Summer 2012), pp. 301-2 “What his argument does show is that in Serbian culture, the interwar years represent the formative period of a complex, open-ended process in which discourses of Europeanism were simultaneously absorbed, as a part of modernization, and transformed, as a part of the quest for self-determination. With Milutinović’s book, the reader gets a valuable map of the many ideological entrenchments in the Serbian writers’ struggle to come to terms with Europe and also an up-to- date critical apparatus for their appreciation. For this reason, the scholarly significance of this volume transcends the temporal limits of the scrutinized period and area. It calls for comparative investigations of similar modernizing processes in South-East Europe and will also appeal to those exploring the discourses of reconciliation and integration in present-day Serbia.” - Vladimir Zorić, University of Nottingham, in: Slavonic and East European Review, 90.1 (2012), pp. 135-137 “In conclusion, Getting Over Europe is a captivating and insightful work of potential interest to a truly rich variety of audiences. Its methodical narrative and richness of historical and literary detail reflect the work of an author whose erudition and breadth of academic foundation are reminiscent of Renaissance scholars deeply immersed in liberal arts and philosophical underpinnings of science. The significance and originality of Milutinović’s contribution outweigh the book’s repression of its normative narrative, the author’s dithering over analytical eclecticism, and the somewhat arbitrary sociological focus. Ultimately, Milutinović’s effort to juxtapose and contextualize abundant imaginations and representations of Europe among Serbian public intellectuals stands out in the history of similar attempts due to the author’s creative and unassumingly analytical tone, comprehensiveness, and depth of reflection.” - Bojan Savić, Elon University, in: Nationalities Papers, 42.6 (2014), pp. 1088-1090 “Zijn studie biedt een overtuigend alternatief voor dominante opvattingen over de inherente uniciteit van Servië en de Balkan. Milutinović compliceert de conceptie van de Balkan als een Europese schemerzone, als een continentale periferie van vreemdheid. De Servische cultuurgeschiedenis van begin twintigste eeuw wordt daarmee resoluut in een Europese hoofdstroom gesitueerd. De grote kracht van Getting over Europe is dat Milutinović de besproken auteurs altijd in een bredere, continentale (soms zelfs globale) context poogt te plaatsen. Zijn boek is niet enkel een analyse van het Servische ‘ontstijgen van Europa’, het overrompelt tegelijkertijd de stereotypen van het balkanisme.” - Erik de Lange, University of UtrechtTable of ContentsAcknowledgments Introduction Cosmopolitan nationalism In search of a Slav mission: authenticity and barbarity The Gentlemen The prophets of Europe’s downfall and rebirth Oh, to be a European! What did Rastko Petrović learn in Africa? The great mechanism passes through Višegrad Misunderstanding is the rule, understanding is a miracle Epilogue: Barbarians Dramatis personae in order of appearance Bibliography Index

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Book SynopsisIn the 1950s prolific U.S. fiction writer Stephen Marlowe became a cult author for lovers of noir fiction mainly for his Drumbeat series, which present his best-known character: private eye Chester Drum. Yet, the academia never paid much attention to his multifaceted, extensive oeuvre. Chaos and Madness is the first volume offering a critical approach to Marlowe’s riveting historical novels. Their relevance in the field of literary studies derives from their well-wrought structure and captivating prose as well as from their portrayal of remote European history – a distinctive feature that makes Marlowe a unique figure in the North American trend of historiographic metafiction. Chaos and Madness provides a comprehensive narratological and ideological analysis of three novels in which Marlowe deals with Spanish history. Preceded by an in-depth if reader-friendly theoretical chapter that traces the evolution of the historical novel as a genre, Calvo-Pascual’s meticulous investigation into Marlowe’s fiction proves compelling for anyone interested in contemporary American fiction, in Spanish history, or in the interaction of metafiction and the scientific discourse of chaos theory.Trade ReviewChaos and Madness has been awarded the Javier Coy Biennial Research Awards 2013 for best monograph. The goal of these awards is to promote high-quality scholarship in the field of American Studies, and to celebrate the originality and excellence of research carried out within SAAS. "Chaos and Madness is theoretically engaged. The author has an admirable ability to explain abstruse concepts in simple terms. Her analysis is sophisticated, yet clear and fluently written. As a rule, Calvo-Pascual works with precise definitions, leading readers interested in the complex world of Stephen Marlowe by the hand." – in: Miscelánea: a Journal of English and American Studies 44 (2011), pp. 151-156Table of ContentsAcknowledgments Introduction History and the Novel: An Overview Mastering the Art: The Historical Novel and Local Color Between Magic and Madness: A Portrait of Spain and Its Neuroses Postmodern Critique and the Hand of the Historian Chaos, Complexity and Interpretation Beyond Reference: Historiographic Metafiction Impinged by Science Fiction The Novel Never Ends: On Alternative Worlds, Jewish Connections and Infinite Regress Concluding Remarks Appendix I Appendix II Bibliography Index

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Book SynopsisShift Linguals traces a history of the cut-up method, the experimental writing practice discovered by Brion Gysin and made famous by Beat author William S. Burroughs. From the groundbreaking works of Dada and Surrealism that paved the way for Burroughs’ breakthrough, through the countercultural explosion of the 1960s, Shift Linguals explores the evolution of the cut-ups within the theoretical frameworks of postmodernism and the avant-garde to arrive at the present and the digital age. Some 50 years on from the first ‘discovery’ of the cut-ups in 1959, it is only now that we are truly able to observe the method’s impact, not only on literature, but on music and culture in a broader sense. The result of over nine years of research, this study represents the first sustained and detailed analysis of the cut-ups as a narrative form. With explorations of the works of Burroughs, Gysin, Kathy Acker, and John Giorno, it also contains the first critical writing on the works of Claude Pélieu and Carl Weissner in English, as well as the first in-depth discussion of the writing of Stewart Home to date.Table of ContentsAcknowledgements Introduction. Before Burroughs: The Prehistory of the Cut-Ups The Origin and Theory of the Cut-Ups Early Successors: Pélieu, Giorno, Weissner Inter-Section. The Mutations of Burroughs: Revising the Cut-Up Technique Kathy Acker: Plagiarism and Adaptation – From Cut-Up to Cut-and-Paste Stewart Home: Pulp, Parody, Repetition and the Cut-Up Renaissance Further Mutations: The Cut-Ups in the New Millennium Works Cited Index

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Book SynopsisQuoi dire, mal dire, ouïr, mal entendre, en-deçà du langage, à l’écoute d’un manque, mèr(e) morte ou « souffle-esprit » ? Dans et hors de la langue, triviale ou spirituelle, aimée ou haïe, anglaise ou française, exil ou patrie... Le travail de Beckett, dans ses pièces théâtrales, télévisuelles et radiophoniques, est le travail d’un poète sur la matière des mots, dénudés de leurs sens par trop utilisés, travail musical et rythmique, d’une exigence qui dépasse la frontière des langues dans leur labilité. Le théâtre beckettien donne à écouter une présence (peut-être celle du « mot perdu »), la présence d’une absence qui n’en finirait plus… Ainsi le néologisme de « spirivial » – qui provient (tout comme son dérivé, la « spirivialité ») de la jonction (ou bien encore du va-et-vient) entre le mot « trivial » et le mot « spirituel » – permet-il de désigner le passage ou bien encore l’anamorphose au cœur du processus de destruction-reconstruction, propre au langage beckettien. Il peut s’agir, par extension, du « lieu-non-lieu » de la Question ou du mystère qui palpite au centre d’un mouvement paradoxal-spiroïdal, involutif-évolutif, à la fois creuset et matrice de la « matière-idée ».Table of ContentsCorpus Introduction La désécriture (du texte et de la phrase...) Séries et suites Spirales Segments La désuétude (du mot...) Trivialité Banalité Labilité La désincarnation (de la langue...) La voix Le souffle Le silence Conclusion Bibliographie

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Book SynopsisVassilis Alexakis: Exorciser l’exil est le premier ouvrage critique consacré à l’œuvre littéraire de l’auteur grec d’expression française Vassilis Alexakis, lauréat du prix Médicis en 1995 et du Grand prix du roman de l’Académie française en 2007. Les schémas de dépossessions culturelles, de quêtes linguistiques, de crises identitaires et de déplacements géographiques propres aux écrits d’Alexakis y sont analysés selon trois axes (autofictionnel, linguistique et spatial) dans les œuvres publiées entre 1974 et 2007 afin de révéler une esthétique du déplacement qui permet à l’auteur de se libérer progressivement de la problématique de l’exil. Cette étude critique s’adresse particulièrement à ceux qui s’intéressent aux écrits contemporains en langue française, aux études littéraires francophones, au bilinguisme littéraire ou à l’autotraduction. L’ouvrage comporte un entretien exclusif avec l’auteur effectué en janvier 2010 à Athènes.Table of ContentsRemerciements Note sur les références Introduction L’Auteur et ses doubles : écriture de soi entre fiction et autobiographie Flou autobiographique Déplacer le vécu : correspondances autofictionnelles Tentative de définition d’une œuvre en miroir Déplacer pour exorciser Esthétique personnelle de l’écriture du moi Langue française, langue grecque : choix, identité et création Mise au point : bilinguisme littéraire et autotraduction Parcours linguistique et itinéraire identitaire alexakien Talgo : combler le manque linguistique La Langue maternelle : sur les traces de la langue grecque Les Mots étrangers : l’appel d’un troisième espace linguistique Résonances et ramifications du déplacement linguistique Lieux et espaces : pérégrinations alexakiennes Une écriture spatiale Problématique d’une instabilité géographique Deux pôles antagonistes : Paris et Athènes Diversification des lieux : s’inscrire dans l’ailleurs De Paris-Athènes à Athènes sans Paris : une œuvre qui se « grécise » Des retours imaginaires pour un retour symbolique « Il faut utiliser l’imagination de la vie » : Entretien avec Vassilis Alexakis Conclusion Bibliographie

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Book SynopsisThis volume is the first book of criticism to provide a systematic analysis of a corpus of emblematic contemporary British fictions from the combined perspective of trauma theory and ethics. Although the fictional work of writers such as Graham Swift has already been approached from this perspective, none of the individual works or authors under analysis in the twelve essays collected in this volume has been given such a systematic and in-depth scrutiny to date. This study, which is addressed to academics and university students of British literature and culture, focuses on the literary representation of trauma in key works by Martin Amis, J. G. Ballard, Pat Barker, John Boyne, Angela Carter, Eva Figes, Alan Hollinghurst, Delia Jarrett-Macauley, A.L. Kennedy, Ian McEwan, Michael Moorcock, Fay Weldon and Jeanette Winterson, within the context of the “ethical turn” in the related fields of literary theory and moral philosophy that has influenced literary criticism over the last three decades, with a special focus on the ethics of alterity, the ethics of truths, and deconstructive ethics.Table of ContentsJean-Michel Ganteau and Susana Onega: Introduction Lena Steveker: Reading Trauma in Pat Barker’s Regeneration Trilogy Silvia Pellicer-Ortín: The Ethical Clock of Trauma in Eva Figes’ Winter Journey Charley Baker: “Nobody’s Meat”: Revisiting Rape and Sexual Trauma through Angela Carter Jakob Winnberg: “A New Algebra”: The Poetics and Ethics of Trauma in J.G. Ballard’s The Atrocity Exhibition Jean-Michel Ganteau: Trauma as the Negation of Autonomy: Michael Moorcock’s Mother London María Jesús Martínez-Alfaro: Where Madness Lies: Holocaust Representation and the Ethics of Form in Martin Amis’ Time’s Arrow Gerd Bayer: World War II Fiction and the Ethics of Trauma José M. Yebra: “A Terrible Beauty”: Ethics, Aesthetics and the Trauma of Gayness in Alan Hollinghurst’s The Line of Beauty Georges Letissier: “The Eternal Loop of Self-Torture”: Ethics and Trauma in Ian McEwan’s Atonement Angela Locatelli: Conjunctures of Uneasiness: Trauma in Fay Weldon’s The Heart of the Country and in Ian McEwan’s On Chesil Beach Anne Whitehead: Representing the Child Soldier: Trauma, Postcolonialism and Ethics in Delia Jarrett-Macauley’s Moses, Citizen and Me Susana Onega: The Trauma Paradigm and the Ethics of Affect in Jeanette Winterson’s The Stone Gods Notes on Contributors Index

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Book SynopsisCinquante ans jour pour jour après son foudroyant premier roman, Le Dernier des Justes, paraît posthumément L’Etoile du matin (2009). C’est le moment de revisiter l’ensemble de l’œuvre d’André (1928-2006) et de Simone Schwarz-Bart (°1938), pour y déceler d’abord les traces d’un triple trauma : la Shoah, « l’Affaire Schwarz-Bart » et la relative marginalisation dans le double canon (études juives, études caribéennes). En effet, que ce soit dans la littérature de la Shoah ou dans la littérature de l’esclavage, l’auteur antillais d’adoption semble comme « ex-communié ». Or, de l’Univers de concentration à l’Univers de Plantation, il dépiste les mêmes mécanismes de déshumanisation et la même nécessité à faire un double devoir de mémoire. A travers une étude de l’intertextualité tant en amont qu’en aval, d’une autotextualité entre le cycle ashkénaze et le cycle antillais, il devient clair qu’entre polonisation et créolisation, il y a réversibilité.Trade Review"Face à la polyphonie des textes des Schwarz-Bart et le cas problématique de l’autorship qu’ils représentent, les lignes de partage tracées par différentes théories littéraires s’avèrent trop étanches, trop rigides. L’ouvrage de Gyssels va résolument au-delà de ces limites et, en dehors de la possibilité de (mieux) découvrir les œuvres des Schwarz-Bart qu'il offre, invite à réfléchir sur les compartimentages institutionnels qui façonnent notre réception de la littérature." - Michał Obszyński, Fabula.org, 26 septembre 2016 http://www.fabula.org/revue/document9883.php "The breadth of Gyssels’s reading—not only in French Caribbean and Jewish literature, but also in many different kinds of critical theory and contemporary thought—is quite extraordinary, and readers of her book will find useful references to an enormous range of different kinds of texts." - Celia Britton, New West Indian Guide / Nieuwe West-Indische Gids , Volume 91, Issue 1-2, 2017Table of ContentsDédicace Sigles Introduction Chapitre I. Cinquante ans de solitude Chapitre II. De la réversibilité : Doublures et double culture Chapitre III: Intertextualités : l’Ouvroir de l’écriture réversible Chapitre IV : Reprises, Retouches, Recoupements Chapitre V : L’écrivain des ombres, nom et renom Bibliographie 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 SynopsisIdeological debates about economics and aesthetics raged hotly in nineteenth-century France. French political economy was taking shape as a discipline that would support free-market liberalism, while l’art pour l’art theories circulated, and utopian systems with aesthetic and economic agendas proliferated. Yet, as this book argues, the discourses of art and literature worked in tandem with market discourses to generate theories of economic and social order, of the model of the self-individuating and desiring subject of modernity, and of this individual’s relationship to a new world of objects. Baudelaire as a poet and art critic is exemplary: Rather than a disaffected artist, Baudelaire is shown to be a spectator desirous of both art and goods whose sensibilities reflect transformations in habits of perception. The book includes chapters on equilibrium and utility in economic and aesthetic theory, on the place of the aesthetic in press coverage of the industrial exhibitions, on the harmonic theories of Baudelaire’s early art criticism, aimed at a bourgeois audience, on Baudelaire’s radical cosmopolitanism learned through viewing “objects” on display at the Universal Exhibition of 1855, and on Les Fleurs du Mal and Le Spleen de Paris, where language makes visible the traits of a new material world.Trade Review“Murphy’s eclectic discussions, ranging from Kant and Condorcet to ‘thing theory’ and toys, are brilliant and exhilarating.” – Juliana Starr, University of New Orleans "Readers will find Clément’s study of film and music enlightening and rich in details" Virginia Osborn - French Review Vol. 88.1 (Octobre 2014)Table of ContentsAcknowledgments Introduction Equilibrium and Utility: Measures of Desire Spectacles of Consumption: Art and the Industrial Expositions Baudelaire’s Salon de 1846 and the Education of the Bourgeois Viewer Baudelaire after 1848: Towards a Cosmopolitan Aesthetic Products of Desire in Les Fleurs du mal A Subjectivity of Things: Le Spleen de Paris Afterword Works Cited Index

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