Literary studies: c 1900 to c 2000 Books

Trade Review"Filled with a number of surprising observations, interpretative gestures, and previously unexplored connections […] Fresh insights and new interpretive encounters […] There is much to learn from this volume, while inspiring groundwork is laid for what are sure to be exciting new paths in Beckett scholarship." – Jacob Hovind, Towson UniversityTable of ContentsEarly Modern Beckett/Beckett et le début de l’ère moderne Introduction/Avant-propos I. In Dialogue with Dramatists and Writers/En dialogue avec des auteurs dramatiques et des écrivains Carla Taban: Le Molière de Beckett Angela Moorjani: Beckett’s Racinian Fictions: “Racine and the Modern Novel” Revisited Danièle de Ruyter: Fascination de la tragédie Racinienne: résonances dans Oh les beaux jours Arka Chattopadhyay: “Worst In Need Of Worse”: King Lear, Worstward Ho and the Trajectory of Worsening Julie Campbell: Allegories of Clarity and Obscurity: Bunyan’s The Pilgrim’s Progress and Beckett’s Molloy Seán Kennedy: Edmund Spenser, Famine Memory and the Discontents of Humanism in Endgame Melanie Foehn: A Rhetoric of Discontinuity: On Stylistic Parallels between Pascal’s Pensées and Samuel Beckett’s L’Innommable II. In Dialogue with Philosophers and Artists/En dialogue avec des philosophes et des artistes Yoshiyuki Inoue: Cartesian Mechanics in Beckett’s Fin de Partie Layla M. Roesler: En compagnie d’une métaphysique parodique: Beckett lecteur de Descartes redux Everett C. Frost: Beckett and Geulincx’s Ethics: “…my Geulincx could only be a literary fantasia” Naoya Mori: Beckett’s Faint Cries: Leibniz’s petites perceptions in First Love and Malone Dies Claire Lozier: Présence de la sculpture funéraire des débuts de l’époque moderne dans l’œuvre narrative de Samuel Beckett: du motif artistique religieux à sa laïcisation scripturale Joanne Shaw: Light and Darkness in Elsheimer, Caravaggio, Rembrandt and Beckett Beckett Between/Beckett entre deux Introduction Dúnlaith Bird: Light, Landscape and Beckett James Williams: Beckett between the Words: Punctuation and the Body in the English Prose Alys Moody: The Non-Lieu of Hunger: Post-war Beckett and the Genealogies of Starvation Dirk Van Hulle: The Extended Mind and Multiple Drafts: Beckett’s Models of the Mind and the Postcognitivist Paradigm Everett C. Frost: Beckett and Geulincx’s Metaphysics: “Without knowing why exactly” John Wall: “L’au-delà du dehors-dedans”: Paradox, Space and Movement in Beckett Lea Sinoimeri: “Ill-Told Ill-Heard”: Aurality and Reading in Comment c’est/How It Is Karine Germoni and Pascale Sardin: Tensions of the In-Between: Rhythm, Tonelessness and Lyricism in Fin de partie/Endgame Iain Baily: Beckett, Bilingualism and the Bible Garin Dowd: The Proxemics of “Neither” Contributors/Auteurs

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Book SynopsisThis exciting new volume presents recent research by internationally recognised Joyce scholars from Europe and North America. Entitled Joycean Unions: Post-Millennial Essays from East to West, it pays particular attention to contemporary Eastern and Western European perspectives on the immensely influential work of the Irish writer James Joyce (1882-1941). The essays collected in this volume uncover various European sources of inspiration for Joyce’s early aesthetic theories, for the “Sirens”, “Cyclops”, “Circe” and “Eumaeus” episodes of his modernist masterwork Ulysses (1922) and for his last tour de force Finnegans Wake (1939). They present inspiring new ways of reading Joyce’s work, re-investigate the fascinating phenomenon of literary “error”, and review aspects of Joyce’s varied afterlife in Ireland and Eastern Europe. The book will be of interest to scholars, students and the general audience interested in English literature, Modernism, European Studies, Irish Studies and of course the works of James Joyce.Trade Review“I was particularly keen to read this collection since much of the material dates from a period before I began to work on Joyce. The excellent book functions well as a record (or for others, a reminder) of these past discussions, while each chapter has, if necessary, been updated to address contemporary critical issues. The work has a lot to offer the reader of Joyce and, in particular, the reader of Ulysses, and I strongly recommend it.” - Katherine Ebury, University of Sheffield, in: James Joyce Quarterly 50.3 (2013), pp. 853-856Table of ContentsBibliographical Note R. Brandon Kershner: Introduction: Joycean Unions Tekla Mecsnóber: James Joyce and “Eastern Europe”: An Introduction Marianna Gula: “Reading the Book of Himself”: James Joyce on Mihály Munkácsy’s Painting “Ecco Homo” John McCourt: Joyce, il Bel Paese and the Italian Language Barry McCrea: Privatising Ulysses: Joyce before, during and after the “Celtic Tiger” Jason King: “Memory of these Migrations”: Joyce, Interculturalism, and the Reception of Ulysses in the Irish Immigration Debate Jane Lewty: SoundingS in “Proteus” Vicki Mahaffey: Bloom and the Ba: Voyeurism and Elision in “Nausicaa” Derek Attridge: Pararealism in “Circe” Benoît Tadié: “A Diabolic Rictus of Black Luminosity”: Exploring the Lipoti Virag-Dracula Connection Régis Salado: “The Injection Mark”: Inoculation in the Joycean Text André Topia: Of Warts and Women: The Female Anomaly in “Circe” Stephen Tifft: The Love-Life of Phonemes Susan Sutliff Brown: The Mystery of the Fuga per Canonem Solved Patrick A. McCarthy: Ulysses: Book of Many Errors Tim Conley: Misquoting Joyce Andrew Gibson: Joyce through the Fowlers: “Eumaeus”, The King’s English and Modern English Usage Contributors

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

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Book SynopsisThis book examines the literary construction of personal identity through autobiographical narratives by three significant writers analysed together for the first time: the Scottish Willa Muir (1890-1970), the Canadian Margaret Laurence (1926-1987), and the New Zealander Janet Frame (1924-2004). These apparently dissimilar authors suffered not only geographical, but also political marginality: they were women from the working-class or struggling middle-class, striving to be considered as professional writers, and emerging from countries that might be felt to be under the shadows of economic and political world powers such as England and the United States. During their lifetimes, they exerted themselves to overcome prejudices about class, gender and ethnicity. They experienced war and the post-war era, and lived through most of the twentieth century, being accurate witnesses and critics of their times. As it discusses major writers who are iconic for the development of the literatures of their respective countries, this book also attracts readers who are interested in learning more about the lives of these remarkable women, the way their socio-historical and geographical circumstances affected their writing and how they expressed such concerns in their autobiographies and other fictional and non-fictional works, besides considering them in relation to contemporary women writers —and autobiographers— who underwent similar experiences.Table of ContentsAcknowledgments Introduction Willa Muir Brief Chronology The Writer and the Translator The Writer as Mother Belonging to the Universe Margaret Laurence Brief Chronology Motherhood as Gift and Trap The Dynamic Concept of Place The Craft of the Writer: Vulnerability and Power Janet Frame Brief Chronology A Place for the Self The Writer’s Vocation In Search of Loneliness Conclusion Appendixes Willa Muir’s Translations Interview with Professor Clara Thomas Archives Consulted Bibliography Index

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Book SynopsisThis collective volume offers a new reflection on Eroticism by bringing together the erotic and mythology in the literary and cultural production of the extreme contemporary. Mythes et érotismes propose une réflexion neuve sur l’Érotisme en rapprochant l’érotique et le mythe dans la production littéraire et culturelle de l’extrême contemporain.Trade Review"Cet ouvrage souligne le rôle important de l’érotisme dans la littérature de l’extrême contemporain, tout particulièrement chez les écrivaines. À noter qu’il fait une large place à la littérature hexa-gonale, puisque seuls quatre articles abordent le corpus africain et caribéen." - Cécile Jest.Table of ContentsEfstratia Oktapoda: Introduction Gaëtan Brulotte: La crise de l’éternel féminin : la littérature érotique féminine dans la francophonie contemporaine Christa Stevens: Pour en finir avec l’obscénité féminine : mythes sexuels et politiques érotiques dans Pornocratie de Catherine Breillat Karin Schwerdtner: Désir et relation. L’Usage de la photo, Annie Ernaux/Marc Marie Metka Zupančič: Marie-Sissi Labrèche et l’exploration des limites (érotiques) de l’être Efstratia Oktapoda: Michel Houellebecq. Entre représentation obsessionnelle de scènes de sexe et déni de l’amour Najib Redouane: Expressions sexuelles dans le texte féminin au Maroc Alison Rice: Hybridités et sexualités : Le corps et la sensualité dans l’écriture des femmes d’Algérie Susan Mooney: Empreintes paternelles sur la masculinité et la féminité chez Nina Bouraoui et Michel Houellebecq Julie Monty: Virginie Despentes et Coralie Trinh Thi et le (post)féminisme. La Vengeance de viol dans (le film) Baise-moi Safoi Babana-Hampton: Pérégrinations mythiques et érotiques chez Nancy Huston et Milan Kundera : L’Empreinte de l’ange et L’Ignorance Murielle Lucie Clément: Gabriel Osmonde. Métaphysique des gros seins et Troisième naissance Rabia Redouane: Femme nue, femme noire de Calixthe Beyala : Pour une mythologie de l’érotisme africain Arzu Etensel Ildem: Le manque et l’excès : la sexualité dans la littérature antillaise

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Table of ContentsIntroduction Françoise Leriche : De la « naissance » de la Recherche à « l’oeuvre des manuscrits » Étapes dans la réflexion sur les processus génétiques proustiens Philippe Willemart : Une logique sous-jacente à l´écriture des folios proustiens Julie André : Les « scories » du Contre Sainte-Beuve : récit et dialogue dans les premiers cahiers Nell de Hullu-van Doeselaar : La naissance du texte proustien : du triptyque à la rosace Edward Forman: Proust and his Friends at the Louvre : Painting in Words and Music Martin Robitaille : À l’ombre de la mélancolie, les « mystères de la nuit et du sable » Marjolaine Morin : De Saint-Simon à Proust : la puissance du détail Raluca Vârlan : La Bénédiction du Sanglier : Proust pastichant Ruskin Thanh-Vân Ton-That : Naissance d’une métaphore florale autour de la « Dame en rose » ou l’art des petits commencements Bérengère Moricheau-Airaud : Le lieu de naissance du texte proustien Comptes rendus Sur les auteurs

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Book SynopsisAn interdisciplinary study of the Impressionist/early Modernist works of Conrad and Ford, this book aims to show how the represented temporalities (whether to do with past, present, future experience within and without the novels, or logical/structural relations of ‘before’ and ‘after’) are at the core of the won effects of both authors’ oeuvres. Looking at such well-known works as Nostromo, The Good Soldier, The Fifth Queen, Parade’s End, the study makes use of philosophy (historical and contemporary), theology, psychoanalysis, and other sources, to re-describe, unlock and display the fertile ways in which time and historical experience are both manumitted within the tales analysed, and, recursively, within their reading experience. Ultimately, the two senses of ‘making you see’, from Conrad’s iconic Preface, are used as gambits to understand the ways in which these novels are metaphysically vibrant, symbolically hopeful- as against the more common interpretation of metaphysical dissolution and (over-determined) failure.Table of ContentsAcknowledgements Prologue: A Wilderness to Himself Introduction: Love Beyond the Ends Chapter one: Temporal Experience in Conrad’s Nostromo Chapter two: Superimposed Pasts in Ford’s Fifth Queen Chapter three: The Metaphorization of “Dowell” Chapter four: Ford’s Parade’s End: A Surgeon on Time Conclusion: The Salutary Weight of Objectivity Bibliography Index

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Book SynopsisHow does one read across cultural boundaries? The multitude of creative texts, performance practices, and artworks produced by Indigenous writers and artists in contemporary Australia calls upon Anglo-European academic readers, viewers, and critics to respond to this critical question. Contributors address a plethora of creative works by Indigenous writers, poets, playwrights, filmmakers, and painters, including Richard Frankland, Lionel Fogarty, Lin Onus, Kim Scott, Sam Watson, and Alexis Wright, as well as Durrudiya song cycles and works by Western Desert artists. The complexity of these creative works transcends categorical boundaries of Western art, aesthetics, and literature, demanding new processes of reading and response. Other contributors address works by non-Indigenous writers and filmmakers such as Stephen Muecke, Katrina Schlunke, Margaret Somerville, and Jeni Thornley, all of whom actively engage in questioning their complicity with the past in order to challenge Western modes of knowledge and understanding and to enter into a more self-critical and authentically ethical dialogue with the Other. In probing the limitations of Anglo-European knowledge-systems, essays in this volume lay the groundwork for entering into a more authentic dialogue with Indigenous writers and critics.Table of ContentsList of Illustrations Beate Neumeier and Kay Schaffer: Introduction Sharing Across Boundaries Kim Scott: From Drill to Dance Stephen Muecke: The Great Tradition: Translating Durrudiya’s Songs Anna Haebich: Aboriginal Families, Knowledge, and the Archives: A Case Study Michael Christie: Decolonizing Methodology in an Arnhem Land Garden Eleonore Wildburger: The ‘Cultural Design’ of Western Desert Art Ethical and Other Encounters Ian Henderson: Modernism, Antipòdernism, and Australian Aboriginality Bill Ashcroft: Material Resonance: Knowing Before Meaning Lisa Slater: Waiting at the Border: White Filmmaking on the Ground of Aboriginal Sovereignty Kay Schaffer: Wounded Spaces/Geographies of Connectivity: Stephen Muecke’s No Road (bitumen all the way), Margaret Somerville’s Body/Landscape Journals, and Katrina Schlunke’s Bluff Rock: Autobiography of a Massacre Sue Kossew: Recovering the Past: Entangled Histories in Kim Scott’s That Deadman Dance Reading Transformations Philip Mead: The Geopolitical Underground: Alexis Wright’s Carpentaria, Mining, and the Sacred Heinz Antor: Identity and the Re-Assertion of Aboriginal Knowledge in Sam Watson’s The Kadaitcha Sung Anne Brewster: Gallows Humour and Stereotyping in the Nyungar Writer. Alf Taylor’s Short Fiction: A White Cross-Racial Reading Katrin Althans: “And in my dreaming I can let go of the spirits of the past”: Gothicizing the Common Law in Richard Frankland’s No Way to Forget Beate Neumeier: Performative Lives – Transformative Practices: Wesley Enoch and Deborah Mailman, The 7 Stages of Grieving, and Richard Frankland, Conversations with the Dead Notes on Contributors

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Book SynopsisElizabeth Bowen and the Writing of Trauma analyses the treatment of memory and the past in Bowen’s writing through the lens of trauma theory. It draws on the theories of Jacques Derrida, Hélène Cixous, Julia Kristeva, Sigmund Freud, and Cathy Caruth, to propose that Bowen’s work is best understood through the psychological, narratological, and linguistic effects of trauma in her fiction. Bowen’s writing complicates existing deconstructive and psychoanalytic models of trauma and literature, and testifies to the responsibility of survival and the ethics of bearing witness.Table of ContentsAcknowledgements Introduction: “We Must Live How We Can” Chapter 1: Wound: The Hotel and To the North Chapter 2: Supplement: The Last September Chapter 3: Remains: The House in Paris and Friends and Relations Chapter 4: Death Sleep: The Death of the Heart Chapter 5: Safe: Wartime Short Fiction Chapter 6: Unknown: The Heat of the Day Chapter 7: Post: A World of Love Chapter 8: Crypt: The Little Girls Chapter 9: However: Eva Trout, or Changing Scenes Postscript Bibliography Index

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Book SynopsisNarrative Innovation in 9/11 Fiction explores fiction that experiments in innovative ways with formal strategies so as to engage with the 9/11 terrorist attacks on the World Trade Center towers and their repercussion. This study demonstrates how certain novels create narratives about the 9/11 attacks that refuse to shy away from exploring and representing their difficult and problematic aspects and, in fact, insist on doing so as the only means of coming to terms with the events in all their cultural and historical specificity. As such, these texts implicitly advocate a notion of literature as a dynamic negotiation of the relationship between aesthetics, ethics, politics, culture, and history. Indeed, they assert and reassert the viability of literature as a mode of critical inquiry that can engage and contribute to the socio-political debates of its time and to the construction of narratives about significant historical and cultural events.Table of ContentsAcknowledgements Introduction: Narrative Innovation in 9/11 Fiction Chapter 1: Frédéric Beigbeder’s Windows on the World Chapter 2: Jonathan Safran Foer’s Extremely Loud and Incredibly Close Chapter 3: Jess Walter’s The Zero Chapter 4: Don DeLillo’s Falling Man Chapter 5: Ian McEwan’s Saturday Bibliography Index

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Book SynopsisThis volume includes twenty-five interdisciplinary essays on Paul Bowles’s literary and musical work. The legendary author – a North-American expatriate writer and composer, and a cult figure who, according to Norman Mailer “... let in the murder, the drugs, the incest, the death of the square, the end of civilization” – and his artistic output, are explored here by leading contemporary scholars. They seek alternative and multiple perspectives of his work through the dynamics of music and literature, avant-garde film and the No wave scene, torture studies and security, Islamic studies, modernism and surrealism. Following the international conference “Do You Bowles?” held in Lisbon, in 2010, which celebrated Paul Bowles’s 100th birthday, this collection shows how Bowles’s work engages creatively with his predecessors and a variety of perspectives, by rethinking modes of consciousness and of artistic and cross-cultural potential that still inspire todays’ artists and scholars, both as a writer as well as a composer. The editor set up a webpage dedicated to the book: http://www.doyoubowles.org/Table of ContentsAbbreviations Acknowledgements “Paul Bowles Now and Then: Introduction”, Anabela Duarte I. The Fascination of Paul Bowles – Face to Face Secrecies “Paul Bowles as I Knew Him”, Christopher Sawyer-Lauçanno “‘I Would Invite You to Supper but I Have Only One Egg:’ Teaching with Paul Bowles”, Regina Weinreich “The Fascination of Paul Bowles”, Allen Hibbard II. Ecologies of Fear and Violence: Resistance or Desistance? “The Perceptual is Political: Modes of Consciousness in The Spider’s House”, Greg Bevan “Laughing with Thieves: Images of Paul Bowles in Tahar Ben Jelloun and Mohamed Choukri”, Clare Brandabur “The Spider’s House: Paul Bowles and the Question of Moroccan Independence”, Younes Riyani El Assaad “Tangier, Capital of Treason”, Andrew Hussey “False Concepts: The Absence of Security and Intimacy in the Work of Paul Bowles”, Andrew Martino III. Music, Noise and Politics “The Music and Politics of Pastorela (1941)”, Jennifer L. Campbell “Paul Bowles and Latin American Music”, Luis Hérnandez Mergal “‘The Question of Music and Prose, It’s a Tricky One to Answer,’ Paul Bowles: Composer – Writer”, Verena Mogl “The Musical Styles of Early Songs of Paul Bowles”, Carole Blankenship “On Degenerescence and Realms of Suppression: Paul Bowles vis-à-vis Einojuhani Rautavaa”, Zbigniew Bialas “Noise and Violence in Up Above the World – Music as Torture in Modern Fiction”, Anabela Duarte IV. No Maps for these Territories: Bowles, Burroughs and Beyond “Aesthetic Tourists: The Sheltering Sky’s Critique of Modernism”, Christopher Leslie “American Existentialism and Surrealism in Paul Bowles’s ‘The Scorpion’ and ‘By the Water,’ Jack Kerouac and William Burroughs’s And The Hippos Were Boiled in Their Tanks”, Benjamin J. Heal “‘What You Do Is Nearer to What You Are than What You Think Is’: The Importance of Place and Space in Paul Bowles’s Short Fiction”, Isabel Oliveira Martins “Experiences of Death and Dissolution in Paul Bowles’s The Sheltering Sky and Jack Kerouac’s Desolation Angels and The Dharma Bums”, Nuno Marques V. You Are Not I – Film and Text “Good Film Hunting: Sara Driver, Paul Bowles, and Tangier”, Francis Poole “A Resistant Text: ‘You Are Not I’”, Yoshiaki Koshikawa VI. On Intercultural Mediations “Towards an Absent Origin: The Edge of Anger in Paul Bowles’s ‘A Distant Episode’”, Bouchra Benlemlih “The Impossible Relationship with the ‘Other’ in ‘The Time of Friendship’”, Fernando Gomes VII. Momentum No Speed: Film, Bohemia and the Uncanny “The Film Narrator Paul Bowles”, Kostoula Kaloudi “Gothic Short Circuits in Paul Bowles’s Fiction”, Maria Antónia Lima “Literary Friendship: The Bowleses and Tennessee Williams”, Krisztina Dankó Contributors Index

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Book SynopsisCet ouvrage apporte un éclairage nouveau à l’histoire littéraire et artistique du surréalisme par un biais inédit : l’étude du catalogue d’expositions surréalistes (CES). Se penchant sur un genre interdisciplinaire jusque-là peu étudié, le catalogue d’exposition, il en retrace les fonctions définies par l’institution Royale du XVIIe siècle et son développement pour montrer comment les surréalistes subvertissent les formes traditionnelles liées à la description, l’explication et l’évaluation des œuvres exposées.Trade ReviewL’étude et l’histoire du surréalisme ne s’étaient jamais vraiment intéressées à ces documents, il s’agit donc d’une contribution importante à l’analyse du mouvement car elle privilégie la dimension collective du surréalisme. - Norbert Bandier dans Lectures, juin 2015, http://lectures.revues.org/18186 Cet ouvrage apporte un éclairage nouveau à l'histoire littéraire et artistique du surréalisme par un biais inédit : l'étude du catalogue d'expositions surréalistes (CES). - ADARR, 2016, http://humanities1.tau.ac.il/adarr/en/Table of ContentsPréface de Bernard Vouilloux : « Une aigrette de vent » dans les pages du catalogue Préface de Ruth Amossy : Le discours des catalogues d’exposition : nouvelles perspectives sur le surréalisme Introduction I. Qu’est-ce qu’un catalogue d’exposition? II. Le catalogue d’exposition surrealiste III. La dimension manifestaire du ces. Image identitaire du groupe IV. La doxa mise au defi Conclusion Bibliographie Remerciements Crédits Annexe Index

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Book SynopsisThis analysis of twenty published texts by David Hare employs definitions from contemporary semiotic literary theory as a means of describing typologies of political drama. By tracing the incorporation of stylistic devices from agitational propaganda (caricature, self-referentiality, the frisson between oral and visual signification) throughout the typologies, the study illustrates how each text subverts audience expectation based on established dramatic genres. The collection of texts is seen as inherently self-referential and politically subversive. At the centre of each typology is a protagonist who functions as a martyr to or parodic emblem of contemporary society. Consistently, the hermeticism of public institutions which represent the political status quo makes them immune from any form of individual protest from the Left or Right. In the satirical anatomy, the emblem of political dissent is coopted by involvement within the institution, or the stage is dominated by a conservative who controls the action. In the demythology, private individuals are seen as incapable of altering the public frame of history; but here private suffering subverts the collective mythology of the historical construct. In the martyrology, the emblem of dissent is associated with a moral virtue which is inimical to contemporary society, the audience's expectation of the triumph of the individual being subverted when he/she is expelled from the onstage world on the grounds of political ideology. It is only in the final typology, the conversion, that a conservative emblem is seen as directly influenced by such martyrdom, and the audience is provided with an actual example of political change. Thus, the study describes how each typology builds on the construction of the previous, and all generate from agitational propaganda.

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Book SynopsisThe interest of Anglo-Irish literature is not only that its canon includes a high proportion of literary giants - Yeats, Joyce, Beckett - but also that it exemplifies the problematics of literature in a context of social and cultural tension. Irish literary history has often been studied under precisely that aspect: as the literature of a country in a marginal, colonial yet intra-European position; a country where a variety of cultural traditions (Gaelic, Anglo-Irish, Ulster Presbyterian) have coexisted in an uneasy relationship; a country with intense social and economic divisions. These infrastructural tensions are not mere background or part of the context, but have been explicitly thematized in a substantial part of Ireland's literary output, so that an Irish author who does not address the matter of Ireland stands out as an anomaly, an exception to the general patterns. Therefore, the historical context of much Anglo-Irish scholarship is hardly surprising. Forging the Smithy: National Identity and Representation in Anglo-Irish Literary History addresses three interrelated areas of interest: language, territory and politics; the role of historical consciousness in Irish authors and in their dissemination; and the representation of Irish affairs asa it gives rise to specific literary strategies.Table of ContentsIntroduction: Forging in the Smithy. Bart WESTERWEEL: Spenser's Ireland. Ciaran MURRAY: Anglo-Dutch and Anglo-Irish: The Politics of Romanticism. Susan FISHER MILLER: The Gentlemen at Large: Dublin Castle, Trinity College, and Jonathan Swift. Robert MAHONEY: Prince Posterity as an Irish Nationalist: The Posthumous Course of Swift's Patriotic Reputation. Wim TIGGGES: Public, Private and Poetic: Wolfe Tone's Autobiographical Writings. C.C. BARFOOT: Why Hang O'Quigley?: Treason and the Press in 1798. Peter DAVIDSON: A Note on the Music Manuscript of Anna Corri. Richard WALL: Politics and Language in Anglo-Irish Literature. Joep LEERSSEN: Language Revivalism before the Twilight. Arthur GREEN: Homage to Heslinga. Clare O'HALLORAN: An English Orientalist in Ireland: Charles Vallancey (1726-1812). Norman VANCE: Archaeology and the Ideology of Colony and Nation: The Case of New Grange. Martin J. BURKE: The Politics and Poetics of Nationalist Historiography: Mathew Carey and the Vindiciae Hibernicae. Jane STEVENSON: The Politics of Historiography: Or, Novels with Footnotes. Christopher MORASH: The Rhetoric of Right in Mitchel's Jail Journal. James H. MURPHY: Rosa Mulholland, W.P. Ryan and Irish Catholic Fiction at the Time of the Anglo-Irish Revival. Barbara FREITAG: Literature Rewrites History: James Connolly and James Larkin Larger than Life. Notes on Contributors.

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Book SynopsisBy showing that the meaning of the word politics can be interpreted in various ways, the scope of the articles in Tumult of Images: Essays on W.B. Yeats and Politics is extensive. Rather than explicitly analysing W.B. Yeats's political views and opinions about social order, several of the authors demonstrate how these ideas have determined the textual strategy behind Yeats's works. Thus we find, for instance, how Yeats's politics of myth subsume the myth of politics, or how his play The Player Queen is an expression of sexual and textual politics. Other essays revaluate Yeats's role in Ireland's Literary Renaissance or argue that his recruitment of Homer throughout his work was politically motivated. The volume also offers an ero-political reading of Yeats's ballads next to an analysis of the strategy behind that apocalyptic idea of gyring history. Tumult of Images also deals with the politics of reception of Yeats's works by showing how the Irish poet has influenced South African poetry of the period of Apartheid, or by presenting the various ways in which the Japanese and the Dutch have become acquainted with the work of Yeats. The title of this volume thus reflects not only the many-sidedness of the discussions offered here but also their common contribution to an analysis of a fascinating aspect of Yeats's life and work.Table of ContentsBibliographical Note. Peter van de KAMP and Peter LIEBREGTS: Introduction. Augustine MARTIN: Politics and the Yeatsian Apocalypse. Andrew PARKIN: The Death of Cuchulain and the Politics of Myth. C.C. BARFOOT: Distinguished, Indirect and Symbolic: Yeats and Noh. Maureen MURPHY: Some Western Productions of At the Hawk's Well, with a Mythological Footnote. Hedwig SCHWALL: Sexual and Textual Politics in Yeat's The Player Queen. Elizabeth BUTLER CULLINGFORD: The Erotics of the Ballad: A Man Young and Old. Peter Liebregts: The Bang that Was Greece, the Whimper that Was Rome: A Grand Tour through Yeatsian Politics. Peter van de KAMP: Whose Revival? Yeats and the Southwark Irish Literary Club. Roselinde SUPHEERT: Irish Patriot Aliens: The Irish Cause and the Early Reception of Yeat's Work in the Netherlands. Toshi FUROMOTO: A Search for a National Identity: Three Phases of Yeats Studies in Japan. Nicholas MEIHUIZEN: Easter 1916 in the 1990s: A South African Perspective. Robert MOHR: Politics Wrought to Its Uttermost. Notes on Contributors.

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