Literary studies: fiction Books

Book SynopsisReading classic and popular literature alongside the latest research in cognitive science, Vera Tobin shows that a good surprise works by taking advantage of cognitive biases, mental shortcuts, and quirks of memory. She provides not only a sophisticated how-to guide for writers but—for all readers—a new appreciation of the pleasures of being had.Trade Review[An] excellent book…Tobin reveals valuable truths about the stories we tell to entertain each other, and those we tell ourselves to get by, and how they are related. -- Simon Ings * New Scientist *Plot twists can jolt us into an understanding of fiction’s deeper meaning. But how do they work?…Tobin pinpoints the psychological quirks that make us vulnerable to literary shock tactics. -- Barbara Kiser * Nature *In Elements of Surprise, John le Carré rubs shoulders with Agatha Christie, Jane Austen with Graham Greene, in a wide-ranging analysis of a trope and practice that moves across all genres… Tobin’s careful analysis of the mechanics of ‘surprise’ fully mobilizes the cognitive sciences as provocative and valuable literary critical tools… Elements of Surprise is a fascinating analysis of an element of plot that we might just take too much for granted. -- Gail Marshall * Times Higher Education *[Tobin] looks at our cognitive limits and quirks that not only help make such surprises work effectively but also elicit a certain kind of pleasure and satisfaction when revealed, recognized, understood, and acknowledged. She looks methodically under the hoods of various cognitive theories of memory, perception, and narrative linguistics…The book should be read by writers who want to improve their craft and readers/viewers who want to understand their own responses to such narratives…The better we understand what makes certain features of a narrative work well, the more it can deepen both our reading and writing enjoyment. -- Jenny Bhatt * PopMatters *This book is likely to be the defining standard book in cognitive literary studies for at least the next decade. -- Blakey Vermeule, Stanford UniversityThis is a work of major importance, perhaps the best one yet on the psychology of narrative and on what narrative can offer psychology. It is a pleasure to read and a pleasure to learn from. -- William Flesch, author of Comeuppance: Costly Signaling, Altruistic Punishment, and Other Biological Components of FictionIf you want to know how good literary writers are manipulating your mind as a reader—read Tobin. This is a remarkable book. -- Eve Sweetser, University of California, BerkeleyWhat makes a plot, fictitious or real, satisfying? With enthralling style, Tobin uncovers ways in which satisfaction depends upon fundamental processes of thinking about other minds, especially minds telling us stories. Welcome to the cognitive science of sophisticated mental pleasure. A masterpiece. -- Mark Turner, Case Western Reserve UniversityIn this eloquent and masterful work, Tobin guides us to think differently about the stories we require to make sense of our lives. -- Amy Cook, author of Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science

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Book SynopsisIn this account of how the novel reorients philosophy toward the meaning of existence, Yi-Ping Ong shows that the existentialists discovered a radical way of thinking about the relation between the form of the novel and the nature of self-knowledge, freedom, and the world. At stake are the conditions under which knowledge of existence is possible.Trade ReviewAnyone interested in the debates that have convulsed the study of the novel in recent years should read this book. It does more than any other piece of writing I’ve encountered to clarify the underlying stakes of the arguments about close reading versus distant, analog versus computational, depth versus surface…Ong’s masterful book raises questions that I suspect students of the novel will be grappling with for a long time. -- Michael Clune * Critical Inquiry *The Art of Being is brilliant—a beautifully conceived book that brings existentialist philosophy into creative dialogue with literary texts. Full of original and compelling insights into the philosophical content of the novels examined, the intricate readings are absorbing and show how literature subtly reaches beyond itself into our lives. -- Garry L. Hagberg, Bard CollegeYi-Ping Ong wears her immense learning lightly. Her philosophical and literary analyses are elegant and supremely intelligent, and the range of figures that her book draws together results in some startling constellations. The Art of Being is a model of philosophical criticism. -- Robert Chodat, Boston University

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Book SynopsisSuyoung Son examines the widespread practice of self-publishing by writers in late imperial China, focusing on the relationships between manuscript tradition and print convention, peer patronage and popular fame, and gift exchange and commercial transactions in textual production and circulation.

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Book SynopsisThe novel was born religious, alongside Protestant texts produced in the same format by the same publishers. Novels borrowed features of these texts but over the years distinguished themselves, becoming the genre we know today. Jordan Alexander Stein traces this history, showing how the physical object of the book shaped the stories it contained.Trade ReviewGranting publishers equal billing with authors and paying as much attention to buying habits as to reading practices, [Stein] coordinates the history of the novel with ‘the development of the book as a media platform.’…While Watt celebrated a genre bursting free from the stale conventions of epic and romance, Stein casts the novel itself as the fixed point against which modern devotional genres began to emerge. -- Leah Price * New York Review of Books *Engaging and thought-provoking. -- Hal Jensen * Times Literary Supplement *Crisp, refreshing…A clarifying, pleasurable read, one that offers a model for how attention to a period’s larger media ecology can unstick adherence to anachronistic categories. -- Annika Mann * Eighteenth-Century Fiction *Compact and erudite…This is clearly a pathfinding book, transatlantic in scope and clear in its focus. It usefully reframes the novel as one print-based mechanism in the emergence of modern selfhood…Readers, therefore, will welcome this careful, innovative study as an important reminder that the novel’s rise, including even its most cherished formal features, did not happen merely to meet the demand of a new middle-class readership but was the effect also of calculated transformations in the incipient book publishing industry. -- Sean Silver * Modern Language Quarterly *[An] erudite work…His analysis of the interconnectedness of pious writings and fiction is thoughtful and astute, and illuminates tensions in both Defoe’s and Richardson’s work…Impressive for both the extent of its research and the lucidity of its prose. -- Hal Gladfelder * Review of English Studies *An impressive attempt to bring together book history and literary history…A refreshing, succinct, and striking new account of how and why the novel achieved literary hegemony over the course of the eighteenth century…[An] innovative work. -- David Womersley * Studies in English Literature *Jordan Alexander Stein has recovered a print world in which secular and religious texts were bought, sold, and read interchangeably with one another on both sides of the Atlantic, and the novel’s formal features developed in tandem with the material affordances of the book. The result is an entirely new account of the novel: no longer the harbinger of secular modernity, the novel is, Stein shows us, the residue of what religious writings left behind. -- Amanda Claybaugh, author of The Novel of PurposeIn this original and erudite study, Jordan Alexander Stein brings fresh insight to an enduring subject in literary studies—the rise of the novel. Redirecting our attention from old modes of genre history to new modes of media history, he argues that eighteenth-century Anglo-Americans learned to read novelistically—and to read for character—within a distinct media ecology. Stein’s reconstruction of that learning process will transform how we assess the relations among fiction, print culture, and practices of reading. -- Deidre Lynch, author of The Economy of CharacterBy revealing how a modern genre emerged from changes in format, not just form, Jordan Alexander Stein restores early novels like Robinson Crusoe and Pamela to a common shelf alongside other books—conversion narratives, spiritual biographies, and the confessions of penitent sinners—that shared the same material dimensions. What mattered most about early English novels, Stein shows us, was not that they were secular or fictional; it was that they were books telling stories about someone’s vulnerability. The crucial figure in the rise of the novel—the imagined person who came to be known as a ‘character’—was no rational, self-possessing hero but a divided, broken self, in danger and beset by doubt. When Novels Were Books is a major contribution to book history and, even better, a gift to our thinking about what books mean and why we care about them. -- Caleb Smith, author of The Oracle and the CurseTakes aim at literary common sense, asking scholars to look again and aslant at novels and the stories they tell about them…Filled with revisionist insights…An alacritous, perceptive study that presses hard on shibboleths. It elicits surprise and nurtures new forms of wonder. -- Sonia Hazard * Studies in the Novel *[A] contribution to the historiography of the rise of the novel and a challenge to the enterprise as a whole. -- Julianne Werlin * Novel *Stein’s fundamental project is to revise the ‘rise of the novel’ narrative by examining print’s role as both a technology and a business, while attending to its powerful social dimensions. He offers a professedly revisionary account that challenges ideologically driven versions of the story, including those tying the novel to the emergence of secular modernity. -- Sandra M. Gustafson * American Literary History *

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Book SynopsisThe history of the book has overwhelmingly focused on Europe. But during the Middle Ages, a crucial period of its development, the book was far more popular among speakers of Arabic. Beatrice Gruendler corrects this scholarly oversight, exploring the material resources that underlay the rich world of Medieval Arabic letters.Trade Review[A] superb history of the creation of the Arabic book in the ninth century…Gruendler is a leading authority on Classical Arabic literature of the early period and her chosen excerpts are both astute and illuminating—and often unexpectedly amusing (and sometimes downright scurrilous)…A major work of scholarship which is also a delight to read. -- Eric Ormsby * Literary Review *A persuasive, in-depth, and insightful study of an important part of media history that is often overlooked…It will be of use for scholars and students of Arabic, other languages of Islamic culture, and research on the early development of book culture around the world. -- Jocelyn Sharlet * Journal of Arabic Literature *An exciting and original look at the subject of Abbasid book production from one of the leading authorities on classical Arabic literature. Gruendler brings to life the role of the stationers as book makers and book sellers, humble craftsmen usually overlooked by historians, whose labors enabled Arabic book culture to flourish. This fascinating work inaugurates a new way of looking at the subject. -- Hugh Kennedy, author of Caliphate: The History of an IdeaA window into the vibrant intellectual history of the classical Arabic book, from the pen of an eminent scholar of Abbasid belles lettres. -- Tahera Qutbuddin, author of Arabic Oration: Art and FunctionBeatrice Gruendler expertly plumbs classical and medieval Arabic sources to tell the fascinating story of how authors and autodidacts, book addicts and book doubters, poets and papermakers, and scholars and stationers of ninth-century Baghdad—the city of a hundred bookshops—contributed to the phenomenal rise of the Arabic book. This volume is destined to be indispensable for all who are interested in the global history of the book. -- Shawkat M. Toorawa, Professor of Arabic, Yale UniversityThe breathtaking book revolution that took hold of the Arabic Near East from the ninth century CE onward led to an explosive growth in manuscripts, libraries, and all forms of written culture. In this extraordinary new book, Beatrice Gruendler traces the rise of the Arabic codex, bringing into focus not only the fascinating material objects themselves but also the people who made and used them. After reading this wide-ranging and deeply erudite work, no one who studies the history of the book and of global humanities in general will be able to ignore the Arabic contribution. -- Glenn W. Most, coeditor of The Classical Tradition

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Book SynopsisBy viewing the novel as much more than an aesthetic form, this volume demonstrates how the genre has transformed human emotions and behavior, and the very perception of reality. It contains more than one hundred essays by critics from around the world.Trade ReviewHonorable Mention for the 2006 Award for Best Professional/Scholarly Book in Multi Volume Reference Works/Humanities & Social Sciences, Association of American Publishers One of Choice's Outstanding Academic Titles for 2007 "The most crucial aspect of the Il romanzo project is the idea driving it to see literature globally, to free 'the novel' from its modernist, strictly Western center of emergence and consider instead how the form has mutated around the world, and why."--Emilie Bickerton, Bookforum "It's a rare literary critic who attracts so much public attention, and there's good reason: few are as hell-bent on rethinking the way we talk about literature... There's no question that people will still be talking about these volumes twenty-five years from now."--Eric Bluson, Times Literary Supplement "Moretti and his contributors have succeeded in making the study of the novel--if not the entire 'literary field'--'longer, larger and deeper' than it was before, or than any single scholar could ever make it."--David Trotter, London Review of Books "[A] very ambitious collection ... The Novel is an impressive achievement, and precisely because Moretti was so willing to include perspectives that diverge sharply from his own."--William Deresiewicz, Nation Praise for Italian edition: "There are books that you read and reread, others that you consult when useful or just for the pleasure ... [The Novel] belongs to both categories because it is much more than a mere collection of essays on a specific subject (in this case, the novel as literary genre, reinterpreted through contributions by novelists, critics, philosophers, anthropologists, and historians from every part of the world). Its changing, evocative flavors are so mouthwatering that it is like a platter of tapas, the little appetizers served by Catalans before a meal, which often take the place of an entire meal. The topic is books--a continuous game of citations and reflections. From the outset, it gives the reader symptoms of an ancient hunger. We are not sure what pushes us to read it and we try to grab and hold on to as much of it as possible ... [The Novel] is not a book. It is a Pantagruelian feast that awakens limitless appetites. It helps to remind us how many flavors can be found in literature and--above all--how many we have lost by eating fast food for the brain."--Diego De Silva, Il Mattino Praise for Italian edition: "[The Novel is a] heroic attempt to capture the great animal of words that we call The Novel. The hunting strategy employed by Franco Moretti and his contributors proves complex and articulated but at the same time oblique and diversified. A merely systematic work could never handle this subject. Neither could a totally anarchic approach ... This work is destined to occupy an important place in contemporary reflections on the novel and on narrative forms in general. The essays are agile but not superficial, specialized but readable, and current ... More than anything else, [The Novel] arouses one's desire to read and reread literary works."--Dario Voltolini, La Stampa Praise for Italian edition: "[These] interesting, useful books ... are not humble, simply informative manuals: they offer essays that lead in multiple directions and examine fundamental problems and questions. They assess the breadth of current studies and they establish an analytical horizon for advanced contemporary culture."--Giulio Ferrot, L'Unita "When you open The Novel ... you may think you know what a novel is; by the time you close it ... you are no longer sure... The sheer diversity of topics here is exciting and opens up many new horizons... It is impossible to understand why the novel has been the quintessential modern art form, and why it has appealed to writers and readers around the globe, without understanding the circumstances of its rise in Western Europe in the 18th century... [I]t helped to incarnate the modern sensibility, and to teach its readers what it means to be modern... If the novel is indeed losing its central position in our imaginative life ... it can only be because modernity itself is slipping away, with all it distinctive promise and menace."--Adam Kirsch, The New York Sun "An essential resource for all academic collections serving students of language and literature."--Thomas L. Cooksey, Library Journal "This two-volume set is the most important resource on the novel now available. Like the novel itself, this work spans the globe and the centuries... Essential."--Choice "No reader will come away from these volumes without a long list of novels they now want to read--novels, in many cases, well-known within their own linguistic or national tradition but unfamiliar outside of it... [This is] a project so capacious, so audacious, so polyvocal--in a word, so novel."--Leah Price, Novel: A Forum on Fiction "There is a great deal to relish here...Moretti and his contributors have succeeded in making the study of the novel--if not the entire 'literary field'--'longer, larger and deeper' that it was before, or than any single scholar could ever make it."--London Review Bookshop "Hugely ambitious... Explores fiction with a capaciousness that's exhilarating as well as eye-opening, as a galactic crew of critics swoop in on subjects ranging from ancient China to Toni Morrison."--Marina Warner, The New Statesman "Moretti's ability in his own criticism to use a playful, informal style is quite remarkable; he quickly puts readers at ease as he calls into question a great deal of what they think they know about narrative... In short, both the range and the content of these essays are exceptionally lively and dynamic, and the writing is sophisticated."--Brian Evenson, Novel: A Forum on FictionTable of ContentsOn The Novel ix 1.1. A STRUGGLE FOR SPACE 1 From Oral to Written: An Anthropological Breakthrough in Storytelling by JACK GOODY 3 The Control of the Imagination and the Novel by LUIZ COSTA LIMA 37 Historiography and Fiction in Chinese Culture by HENRY Y. H. ZHAO 69 The Novel on Trial by WALTER SITI 94 1.2. P OLYGENESIS The Ancient Greek Novel: A Single Model or a Plurality of Forms? by TOMAS HAGG 125 Medieval French Romance by ALBERTO VARVARO 156 The Novel in Premodern China by ANDREW H. PLAKS 181 Critical Apparatus: The Semantic Field of "Narrative" Stefano Levi Della Torre, Midrash 217 Maurizio Bettini, Mythos/Fabula 225 Adriana Boscaro, Monogatari 241 Judith T. Zeitlin, Xiaoshuo 249 Abdelfattah Kilito, Qisa 262 Piero Boitani, Romance 269 Maria Di Salvo, Povest' 283 1.3. THE EUROPEAN ACCELERATION The Short, Happy Life of the Novel in Spain by JOAN RAMON RESINA 291 313Forms of Popular Narrative in France and England: 1700-1900 by DANIEL COU{{Eacute}}GNAS The Rise of Fictionality by CATHERINE GALLAGHER 336 Serious Century by FRANCO MORETTI 364 The Ruse of the Russian Novel by WILLIAM MILLS TODD III 401 1.4. THE CIRCLE WIDENS Critical Apparatus: The Market for Novels-Some Statistical Profiles James Raven, Britain, 1750-1830 429 John Austin, United States, 1780-1850 455 Giovanni Ragone, Italy, 1815-1870 466 Elisa Marti-Lopez and Mario Santana, Spain, 1843-1900 479 Priya Joshi, India, 1850-1900 495 Jonathan Zwicker, Japan, 1850-1900 509 Wendy Griswold, Nigeria, 1950-2000 521 The Sign of the Voice: Orality and Writing in the United States by ALESSANDRO PORTELLI 531 The Long Nineteenth Century of the Japanese Novel by JONATHAN ZWICKER 553 Epic and Novel in India by MEENAKSHI MUKHERJEE 596 The Novel of a Continent: Latin America by GERALD MARTIN 632 The Extroverted African Novel by EILEEN JULIEN 667 1.5. TOWARD WORLD LITERATURE The Novelists' International by MICHAEL DENNING 703 Fecundities of the Unexpected: Magical Realism, Narrative, and History by ATO QUAYSON 726 Readings: Traditions in Contact Abdelfattah Kilito, Al-Saq 'ala al-saq f im a huwa al-Faryaq (Ahmad Faris Shidya q, Paris, 1855) 759 Norma Field, Drifting Clouds (Futabatei Shimei, Japan, 1887-1889) 766 Jale Parla, A Carriage Affair (Recaizade Mahmut Ekrem, Turkey, 1896) 775 Jongyon Hwang, The Heartless (Yi Kwangsu, Korea, 1917) 781 M. Keith Booker, Chaka (Thomas Mofolo, South Africa, 1925) 786 M. R. Ghanoonparvar, The Blind Owl (Sadeq Hedayat, Iran, 1941) 794 Readings: Americas Alessandro Portelli, Uncle Tom's Cabin (Harriet Beecher Stowe, United States, 1852) 805 Roberto Schwarz, Posthumous Memoirs of Bras Cubas ( J. M. Machado de Assis, Brazil, 1880) 816 Jonathan Arac, Adventures of Huckleberry Finn (Mark Twain, United States, 1884) 841 Ernesto Franco, Pedro Paramo ( Juan Rulfo, Mexico, 1955) 855 Stephanie Merrim, Grande Sertao: Veredas ( Joao Guimaraes Rosa, Brazil, 1956) 862 Jose Miguel Oviedo, The Death of Artemio Cruz (Carlos Fuentes, Mexico, 1962) 870 Clarisse Zimra, Lone Sun (Daniel Maximin, Guadeloupe, 1981) 876 Alessandro Portelli, Beloved (Toni Morrison, United States, 1987) 886 Contributors 893 Author Index 897 Works Cited Index 907

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Book SynopsisA translated selection from the epic five-volume "Italian Il Romanzo" (2001-2003), this title views the novel primarily from the inside, examining its many formal arrangements and recurrent thematic manifestations, and looking at the plurality of the genre and its lineages. It is suitable for all students and scholars of literature.Trade ReviewOne of Choice's Outstanding Academic Titles for 2007 Honorable Mention for the 2007 John G. Cawelti Award, American Culture Association "The most crucial aspect of the Il romanzo project is the idea driving it to see literature globally, to free 'the novel' from its modernist, strictly Western center of emergence and consider instead how the form has mutated around the world, and why."--Emilie Bickerton, Bookforum "It's a rare literary critic who attracts so much public attention, and there's good reason: few are as hell-bent on rethinking the way we talk about literature... There's no question that people will still be talking about these volumes twenty-five years from now."--Eric Bulson, Times Literary Supplement "[A] very ambitious collection ... The Novel is an impressive achievement, and precisely because Moretti was so willing to include perspectives that diverge sharply from his own."--William Deresiewicz, Nation Praise for Italian edition: "These volumes are a heroic attempt to capture the great animal of words that we call The Novel. The hunting strategy employed by Franco Moretti and his contributors proves complex and articulated but at the same time oblique and diversified. A merely systematic work could never handle this subject. Neither could a totally anarchic approach ... This work is destined to occupy an important place in contemporary reflections on the novel and on narrative forms in general. The essays are agile but not superficial, specialized but readable, and current ... More than anything else, [The Novel] arouses one's desire to read and reread literary works."--Dario Voltolini, La Stampa Praise for Italian edition: "There are books that you read and reread, others that you consult when useful or just for the pleasure ... [The Novel] belongs to both categories because it is much more than a mere collection of essays on a specific subject (in this case, the novel as literary genre, reinterpreted through contributions by novelists, critics, philosophers, anthropologists, and historians from every part of the world). Its changing, evocative flavors are so mouthwatering that it is like a platter of tapas, the little appetizers served by Catalans before a meal, which often take the place of an entire meal. The topic is books--a continuous game of citations and reflections. From the outset, it gives the reader symptoms of an ancient hunger. We are not sure what pushes us to read it and we try to grab and hold on to as much of it as possible ... [The Novel] is not a book. It is a Pantagruelian feast that awakens limitless appetites. It helps to remind us how many flavors can be found in literature and--above all--how many we have lost by eating fast food for the brain."--Diego De Silva, Il Mattino Praise for Italian edition: "[These] interesting, useful books ... are not humble, simply informative manuals: they offer essays that lead in multiple directions and examine fundamental problems and questions. They assess the breadth of current studies and they establish an analytical horizon for advanced contemporary culture."--Giulio Ferrot, L'Unita "When you open The Novel ... you may think you know what a novel is; by the time you close it ... you are no longer sure... The sheer diversity of topics here is exciting and opens up many new horizons... It is impossible to understand why the novel has been the quintessential modern art form, and why it has appealed to writers and readers around the globe, without understanding the circumstances of its rise in Western Europe in the 18th century... [I]t helped to incarnate the modern sensibility, and to teach its readers what it means to be modern... If the novel is indeed losing its central position in our imaginative life ... it can only be because modernity itself is slipping away, with all it distinctive promise and menace."--Adam Kirsch, New York Sun "An essential resource for all academic collections serving students of language and literature."--Thomas L. Cooksey, Library Journal "This two-volume set is the most important resource on the novel now available. Like the novel itself, this work spans the globe and the centuries... Essential."--Choice "No reader will come away from these volumes without a long list of novels they now want to read--novels, in many cases, well-known within their own linguistic or national tradition but unfamiliar outside of it... [This is] a project so capacious, so audacious, so polyvocal--in a word, so novel."--Leah Price, Novel: A Forum on Fiction "There is a great deal to relish here...Moretti and his contributors have succeeded in making the study of the novel--if not the entire 'literary field'--'longer, larger and deeper' that it was before, or than any single scholar could ever make it."--London Review Bookshop "Hugely ambitious... Explores fiction with a capaciousness that's exhilarating as well as eye-opening, as a galactic crew of critics swoop in on subjects ranging from ancient China to Toni Morrison."--Marina Warner, The New Statesman "Moretti's ability in his own criticism to use a playful, informal style is quite remarkable; he quickly puts readers at ease as he calls into question a great deal of what they think they know about narrative... In short, both the range and the content of these essays are exceptionally lively and dynamic, and the writing is sophisticated."--Brian Evenson, Novel: A Forum on Fiction "There is very much worth exploring in Moretti's excellent collection of essays... Moretti's fine collection is a robust testimony to the novel's long, complex, multicultural history."--Steven D. Smith, International Journal of the Classical TraditionTable of ContentsOn The Novel ix 2.1. THE LONG DURATION The Novel in Search of Itself: A Historical Morphology by THOMAS PAVEL 3 Epic, Novel by MASSIMO FUSILLO 32 The Poetry of Mediocrity by SYLVIE THOREL-CAILLETEAU 64 The Experiments of Time: Providence and Realism by FREDRIC JAMESON 95 Readings: Prototypes Massimo Fusillo, Aethiopika (Heliodorus, Third or Fourth Century) 131 Abdelfattah Kilito, Maqamat (Hamadhany FD, Late Tenth Century) 138 Francisco Rico, Lazarillo de Tormes ("Lazaro de Tormes," circa 1553) 146 Thomas DiPiero, Le Grand Cyrus (Madeleine de Scudery, 1649-1653) 152 Perry Anderson, Persian Letters (Montesquieu, 1721) 161 Ian Duncan, Waverley (Walter Scott, 1814) 173 Paolo Tortonese, The Mysteries of Paris (Eugene Sue, 1842-1843) 181 Geoffrey Winthrop-Young, The War of the Worlds (H. G. Wells, 1898) 189 Ambrosio Fornet, The Kingdom of This World (Alejo Carpentier, 1949) 196 2.2. WRITING PROSE Forms of the Supernatural in Narrative by FRANCESCO ORLANDO 207 The Prose of the World by MICHAL PELED GINSBURG AND LORRI G. NANDREA 244 Excess and History in Hugo's Ninety-three by UMBERTO ECO 274 Minor Characters by ALEX WOLOCH 295 324Toward a Database of Novelistic Topoi by NATHALIE FERRAND 324 2.3. THEMES, FIGURES The Fiction of Bourgeois Morality and the Paradox of Individualism by NANCY ARMSTRONG 349 The Death of Lucien de Rubempre by A. S. BYATT 389 A Portrait of the Artist as a Social Climber: Upward Mobility in the Novel by BRUCE ROBBINS 409 A Businessman in Love by FREDRIC JAMESON 436 Readings: Narrating Politics Benedict Anderson, Max Havelaar (Multatuli, 1860) 449 Luisa Villa, The Tiger of Malaysia (Emilio Salgari, 1883-1884) 463 Edoarda Masi, Ah Q (Lu Hsun, 1921-1922) 469 Thomas Lahusen, Cement (Fedor Gladkov, 1925) 476 Piergiorgio Bellocchio, A Private Matter (Beppe Fenoglio, 1963) 483 Simon Gikandi, Arrow of God (Chinua Achebe, 1964) 489 Jose Miguel Oviedo, Conversation in the Cathedral (Mario Vargas Llosa, 1969) 497 Klaus R. Scherpe, The Aesthetics of Resistance (Peter Weiss, 1975-1981) 503 Readings: The Sacrifice of the Heroine April Alliston, Aloisa and Melliora (Love in Excess, Eliza Haywood, 1719-1720) 515 Juliet Mitchell, Natasha and Helene (War and Peace, Leo Tolstoy, 1863-1869) 534 Sylvie Thorel-Cailleteau, Nana (Nana, Emile Zola, 1880) 541 Valentine Cunningham, Tess (Tess of the d'Urbervilles, Thomas Hardy, 1891) 548 Peter Madsen, Elsie (The Dangerous Age, Karin Michaelis, 1910) 559 2.4. S PACE AND STORY Over-writing as Un-writing: Descriptions, World-Making, and Novelistic Time by MIEKE BAL 571 The Roads of the Novel by HANS ULRICH GUMBRECHT 611 The Chronotopes of the Sea by MARGARET COHEN 647 667Torn Space: James Joyce's Ulysses by PHILIP FISHER 667 Readings: The New Metropolis Leo Ou-fan Lee, Shanghai (Midnight, Mao Dun, 1932) 687 Ernesto Franco, Buenos Aires (Adan Buenosayres, Leopoldo Marechal, 1948) 693 Ernest Emenyonu, Lagos (People of the City, Cyprian Ekwensi, 1954) 700 Roger Allen, Cairo (The Cairo Trilogy, Naguib Mahfouz, 1956-1957) 706 Ardis L. Nelson, Havana (Three Trapped Tigers, Guillermo Cabrera Infante, 1967) 714 Homi Bhabha, Bombay (Midnight's Children, Salman Rushdie, 1981) 721 Sibel Irzik, Istanbul (The Black Book, Orhan Pamuk, 1990) 728 2.5. UNCERTAIN BOUNDARIES Form and Chance: The German Novella by ANDREAS GAILUS 739 Inconceivable History: Storytelling as Hyperphasia and Disavowal by FRANCIS MULHERN 777 Innovation: Notes on Nihilism and the Aesthetics of the Novel by JOHN BRENKMAN 808 Narrative Literature in the Turing Universe by ESPEN AARSETH 839 Readings: A Century of Experiments 871Andreina Lavagetto, The Notebooks of Malte Laurids Brigge (Rainer Maria Rilke, 1910) 871 Myra Jehlen, The Making of Americans (Gertrude Stein, 1925) 880 Ann Banfield, Mrs. Dalloway (Virginia Woolf, 1925) 888 Jose Luiz Passos, Macunaima (Mario de Andrade, 1928) 896 Seamus Deane, Finnegans Wake ( James Joyce, 1939) 906 Declan Kiberd, Molloy, Malone Dies, and The Unnamable (Samuel Beckett, 1951-1953) 912 Beatriz Sarlo, Hopscotch ( Julio Cortazar, 1963) 919 Ursula K. Heise, Gravity's Rainbow (Thomas Pynchon, 1973) 926 Contributors 933 Author Index 937 Works Cited Index 944

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Book SynopsisTrade Review"This wide-ranging and informative book offers a valuable guide to the nature of aesthetic experience that is rooted in, yet extends beyond, the literature and art of the nineteenth century. A book preoccupied with distance, it manages to cover a great deal of territory."---Alison Byerly, Review 19"That even ordinary readers oscillate between immersion in a fictional world and awareness of their place outside it is an attractive notion. . . . Plotz’s book demonstrates the rich and varied aesthetic effects which artists have discovered within this twilight zone, and how we might similarly use it in our reading approaches."---Milan Terlunen, Oxonian Review"The book marvelously captures the feeling of being in the world. Plotz compellingly and artfully shows why reading feels so integral to living."---Jonathan Farina, Victorian Review"In this lively and thought-provoking account, Plotz invites us to become more aware of our own positions as readers, and reveals the intellectual rewards for doing so."---Jonathan Buckmaster, Dickens Quarterly"Semi-Detached is a challenging and highly rewarding account, which illuminates a central but – until now – underexplored aspect of aesthetic experience."---Karin Koehler, Modern Language Review

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Book SynopsisTrade ReviewWinner of the 2015 SHARP DeLong Book History Book Prize, The Society for the History of Authorship, Reading and Publishing "[L]ively... Rabinowitz is on to something."--Louis Menand, New Yorker "Rabinowitz's work is a prime example of literary scholarship and essential key to the history of American publishing."--Publishers Weekly "Rabinowitz makes a persuasive case for the role of pulp in widening the landscape of Americans' experience... An ardent collector of pulp fiction, Rabinowitz brings to this scholarly study a passion for the genre and an authoritative analysis of its meaning in American culture."--Kirkus Reviews "[Rabinowitz] writes with briskness and acuity. The historical richness of the material is leavened by a lively, broadminded, and humane sense of her culture. But most important, she writes with affection for the profound effects of her subject."--Ron Slate, On the Seawall "Alluring topics and insightful writing make this a book that should appeal to anyone interested in how reading--and books--change us."--David Keymer, Library Journal "Offers a thoughtful, provocative take on pulp and its influence on American culture, in art, in film--and how the dime-store publications provided new platforms for gay, lesbian, and African American writers, too."--Steven Rea, Philadelphia Inquirer "Paula Rabinowitz has written a fascinating book with much in it to interest anyone curious about aspects of publishing in the 1940s and 1950s. It has a striking cover, ample notes, and some fascinating illustrations."--Jim Burns, Northern Review of Books "Unfailingly fascinating."--Greil Marcus, Barnes and Noble Review "Paula Rabinowitz's exquisite and startling new book about the 'golden age' of U.S. pulp publishing, from the late 1930s to the early 1960s, is rightly confident in the originality of its enterprise. Gorgeously illustrated, American Pulp audaciously sets in motion at least a half-dozen crisscrossing storylines to create a new cartography of pulp performance."--Alan Wald, International Viewpoint "Rabinowitz's snappily titled and alluringly packaged history of the paperback is entertaining...Covering thirty years of pulp history, it places the humble pocketbook in a new light."--Giulia Miller, Times Literary Supplement "Enthusiastic and informative."--Wendy Smith, Daily Beast "This intimate relationship to pulp as object can be traced throughout the book; it seems like a work born of passion, the result of a decade-long love affair with a disposable medium meant to be consumed and thrown away. Yet it is not only the object--and its use by publishing houses, writers, and artists--that she explores, but also the complex and diverse interfaces with the reader, both individual and collective consumers of the pulp book... An overall enjoyable experience."--Vera Benczik, Hungarian Journal of English and American Studies "[Rabinowitz's] impeccably researched and passionately written book is an important contribution to the scholarly work on the histories of modernism and 20th-century publishing, and a demonstration of the political possibilities of popular forms."--Sean Cashbaugh, Science & Society "Rabinowitz' scholarship on the subject of pulp is exceptional, often brazenly creative in her ability to conflate cultural events and cultural moods behind what should have been the quickly forgotten history of pulp."--Alex P. Grover, Publishing Research QuarterlyTable of ContentsPreface ix 1 Pulp: Biography of an American Object 1 2 Pulp as Interface 40 3 Richard Wright's Savage Holiday: True Crime and 12 Million Black Voices 82 4 Isak Dinesen Gets Drafted: Pulp, the Armed Services Editions, and GI Reading 109 5 Pulping Ann Petry: The Case of Country Place 131 6 Senor Borges Wins! Ellery Queen's Garden 159 7 Slips of the Tongue: Uncovering Lesbian Pulp 184 8 Sci-Unfi: Bombs, Ovens, Delinquents, and More 209 9 Demotic Ulysses: Policing Paperbacks in the Courts and Congress 244 CODA The Afterlife of Pulp 281 Acknowledgments 301 Notes 307 Index 377

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Book SynopsisDuncan reorients readers' understanding of the novel's formation during its cultural ascendancy, arguing that fiction produced new knowledge in a period characterized by the interplay between literary and scientific discourses--even as the two were separating into distinct domains.ains.Trade Review"Duncan’s study is a wide ranging, superbly researched and brilliantly written account of the ways in which the history of the novel is interwoven with the emergence of the new discourse of ‘natural'history, and its logic of an organic transformation of forms and kinds.’ . . . . Human Forms is a rich and brilliant examination of the complex dynamics between the history of scientific ideas and the development of the novel and, as such, will be invaluable to all those interested in Victorian fiction."---Iain Crawford, Dickens Quarterly"[An] exhilarating study which follows in the footsteps of Gillian Beer, Sally Shuttleworth, and George Levine in exploring the resonances between nineteenth-century literature and science."---David Womersley, Studies in English Literature, 1500-1900"Duncan teases out, in intimate detail, the deep engagement between putatively Romantic and Victorian modes of thought and writing. This insight should give present studies of the novel renewed urgency. . . . Human Forms casts a bright light on the nineteenth-century novel not simply as an accessory to scientific thought, but as a powerful instrument for formulating questions about the status of the human as a social and biological problem"---Devin Griffiths, Modern Philology

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Book SynopsisTrade Review"Shortlisted for the Prize for Literary Scholarship, Australian University Heads of English""The rich variety of work featured in this study provides a hugely valuable sense of just how vibrant the form currently is. . . . The book’s robust championing of prose poetry in its many manifestations — and the recognition that this is a contemporary literary mode growing in significance — are perspectives to which we ought to attend."---Simon Collings, Fortnightly Review"With this work, Hetherington and Atherton enrich understanding of and debates about the 'new' genre of prose poetry. Their impressive explication of the genre’s history from the mid-19th century to the present sets a frame for their equally impressive exploration of many facets of this protean art." * Choice Reviews *

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Book SynopsisLaboulaye, one of 19th-century France's most prominent politicians and an instrumental figure in establishing the Statue of Liberty, was also a prolific writer of fairy tales. This volume brings together new translations of 16 of his most wry, political stories that continue to impart lessons today.Trade Review"Smack-Bam, or The Art of Governing Men collects sixteen tales by Édouard Laboulaye, a French law professor and jurist of the Second Empire, and a strong supporter of the abolition of slavery and of women’s rights. Laboulaye’s creative work has been eclipsed by his political career, but in his day he was recognized as a writer of fiction, too, and especially known for his fairy-tales—with their satirical asides, irreverent humor, and free use of international sources, it is not hard to see why."---James Guida, New York Review of Books"The tales are delightful, and they offer a look at a little-known aspect of fairy tale history contemporary with the tale collectors and writers from the nineteenth century."---Sarah N Lawson, Journal of Folklore Research

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Book SynopsisIs George Orwell the most influential writer who ever lived? Yes, according to Rodden's provocative book about the transformation of a man into a myth. He charts the astonishing passage of a litterateur into a legend.Trade Review"The range and depth of Rodden’s knowledge and understanding of post-World War II literature and worldwide responses to Orwell are unparalleled. . . . Becoming George Orwell makes for an engrossing and illuminating read."---Norman Bissell, Orwell Society"As a self-described 'recovering utopian' in tune with his subject’s utopian skepticism, Rodden’s outlook on democratic socialism will resonate with our current political environment. . . . Anyone with an interest in Orwell will appreciate Rodden’s insights and reflections."---Thomas Karel, Library Journal"[Becoming George Orwell] is a grab-bag of Orwelliana. . . . The chapters can stand on their own or, taken together, form an idiosyncratic biography of a consequential life. To read them is to sit in the presence of a veteran scholar at the peak of his powers"---John J. Miller, National Review"Rodden’s book keeps alive the spirit of the man and his imagination."---Shelley Walia, The Hindu"John Rodden, arguably the world’s leading scholar on George Orwell . . . claims that Orwell 'is the most important writer since Shakespeare and the most influential writer who ever lived'. . . . It’s a big claim, but he provides enough evidence to keep literature departments arguing for years."---Dennis Glover, Sydney Morning Herald"A terrific book. An absolute must for fans of George Orwell."---David Marx, David Marx Book Reviews

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Book SynopsisTrade Review"Shortlisted for the MSA First Book Prize, Modernist Studies Association""A wondrous ode to feminist research and biography as a tool and method for revisiting the past. . . . The book will become a key pedagogical resource for the study of Feminist Modernist Studies due to its scope as well as the myriad of primary sources and the bibliography that it provides. Besides this, it is an easy-to-read and thought-provoking work that will appeal to a diverse audience."---Cristina Díaz Pérez, LSE Review of Books"Micir’s queer counterhistory of modernism writes into the story not only authors and artists, but the collectors, curators, editors, archivists, and biographers who create and hold space for the work they value. Micir’s book itself will appeal to anyone interested in modernism and feminist and queer critical methods—and to anyone looking for a compelling and often moving story. . . . a must-read for all researchers sensitive to the framing of the historical narratives they compose."---Carolyn Dever, Public Books"The Passion Projects is a feminist manifesto disguised as a monograph, advocating for a revaluation of feminized labor, a more inclusive understanding of what counts as scholarship, and a renewed approach to collaboration. Micir’s focus on the editing, collecting, curating, and archiving of modernism reveals literary carework and intellectual housekeeping as instrumental to the continued expansion of new modernist studies."---Erica Gene Delsandro, Feminist Modernist Studies"From the unpublished to fragments to curated and collected materials preserved for a future reader, Micir traces beautifully—at times heartbreakingly—the stories of what these incomplete projects tell us about queer women’s lives and desires and their artistic commitments. . . . Micir illuminates partnerships and projects that haven’t received enough attention."---Rowena Kennedy-Epstein, Women: A Cultural Review"Micir exposes in minute detail the difficult balancing act between the personal and political when it comes to unravelling the self-made archive."---Eilish Mulholland, Modernist Review"If the intimacy between lovers and friends is central to The Passion Projects, no less so is that between the scholar or other reader of later times and the author who lived years before. . . . One of the glories of Micir’s book is its attention to the intergenerational connections that, arising in such circumstances, help to realize intensely held hopes for queer futurity."---Douglas Mao, Modernism/modernity

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Book SynopsisTrade Review"Spiced with citations of critics past and present, this cogent, necessary book is ideal for students in Victorian surveys because it both covers the field and stretches it out to the global and the decolonizing."---N. Birns, Choice Reviews"[A] provocative and important new book on Victorian fiction."---John O. Jordan, Dickens Quarterly"Written with her trademark combination of sharp-wittedness and bluntness, Elaine Freedgood’s short but ambitious book, Worlds Enough: The Invention of Realism in the Victorian Novel, aims to show that the prevailing understandingof the Victorian novel’s realism is fundamentally wrong and, more important, pernicious in its effects. . . . Elaine Freedgood is an iconoclastic, inventive critic whose work is suffused with moral and political urgency."---Daniel Hack, Modern Philology"What this book is especially good on is the experience of process in the reading of the [Victorian] novel."---Philip Davis, Review of English Studies"Rigorously theoretical, enlivened with an eye for quirks of material, social, and textual meaning, and full of keen perceptions about a wide range of novels. A luminous provocation, it will spark much discussion and debate."---John Kucich, Victorian Studies

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Book SynopsisTrade Review"Spiced with citations of critics past and present, this cogent, necessary book is ideal for students in Victorian surveys because it both covers the field and stretches it out to the global and the decolonizing."---N. Birns, Choice Reviews"[A] provocative and important new book on Victorian fiction."---John O. Jordan, Dickens Quarterly"Written with her trademark combination of sharp-wittedness and bluntness, Elaine Freedgood’s short but ambitious book, Worlds Enough: The Invention of Realism in the Victorian Novel, aims to show that the prevailing understandingof the Victorian novel’s realism is fundamentally wrong and, more important, pernicious in its effects. . . . Elaine Freedgood is an iconoclastic, inventive critic whose work is suffused with moral and political urgency."---Daniel Hack, Modern Philology"What this book is especially good on is the experience of process in the reading of the [Victorian] novel."---Philip Davis, Review of English Studies"Rigorously theoretical, enlivened with an eye for quirks of material, social, and textual meaning, and full of keen perceptions about a wide range of novels. A luminous provocation, it will spark much discussion and debate."---John Kucich, Victorian Studies

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Book SynopsisTrade Review"It is Walpole the man who fascinates Mr. Lewis and who, when Mr. Lewis is done, fascinates us." * New Yorker *

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Book SynopsisDavid Bethea examines the distinctly Russian view of the "end" of history in five major works of modern Russian fiction. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These edTrade Review"Bethea sees as his tasks: to trace the theme of the Apocalypse...in five Russian novels: Dostoevsky's The Idiot, Bely's Petersburg, Platonov's Chevengur, Bulgakov's The Master and Margarita, and Pasternak's Doctor Zhivago; to show how generalizations about the time-honored 'messianic' and 'eschatological' impulse in the Russian historical character shed light on the narrative structure of these works; and to demonstrate that 'apocalyptic' fictions ... countermand Socialist realism and its vision of secular paradise. He does an excellent job with all three."--Thomas Gaiton Marullo, Modern Fiction Studies "It is not often one comes across a book that is not only a major contribution to the field, but whose appearance calls for a celebration. David Bethea's The Shape of Apocalypse in Modern Russian Fiction is such a book."--Laura D. Weeks, The Russian Review "The terrifying enormity of the apocalyptic theme in Russian literature fails to daunt Bethea, author of the acclaimed Khodasevich. His present book is brilliant, elegantly presented, and invaluable to anyone from undergraduate to specialist."--ChoiceTable of Contents*FrontMatter, pg. i*Contents, pg. vii*A Note on the Transliteration, pg. xi*Preface, pg. xiii*Introduction: Myth, History, Plot, Steed, pg. 3*ONE. The Idiot: Historicism Arrives at the Station, pg. 62*TWO. Petersburg: The Apocalyptic Horseman, the Unicorn, and the Verticality of Narrative, pg. 105*THREE. Chevengur: On the Road with the Bolshevik Utopia, pg. 145*FOUR. The Master and Margarita: History as Hippodrome, pg. 186*FIVE. Doctor Zhivago: The Revolution and the Red Crosse Knight, pg. 230*Afterword: The End and Beyond, pg. 269*Works Cited, pg. 277*Index, pg. 297

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Book SynopsisFiction criticism has a long and influential history in pre-modern China, where critics would read and reread certain novels with a concentration and fervor far exceeding that which most Western critics give to individual works. This volume, a source book for the study of traditional Chinese fiction criticism from the late sixteenth to the early twTable of Contents*FrontMatter, pg. i*CONTENTS, pg. v*LIST OF ABBREVIATIONS, pg. ix*EDITOR'S PREFACE, pg. xiii*I. Traditional Chinese Fiction Criticism, pg. 3*II. Chin Sheng-t'an on How to Read the Shuihu chuan (The Water Margin), pg. 124*III. Mao Tsung-kang on How to Read the Sankuo yen-i (The Romance of the Three Kingdoms), pg. 146*IV. Chang Chu-p'o on How to Read the Chin P'ing Met (The Plum in the Golden Vase), pg. 196*V. The Wo-hsien ts'ao-t'ang Commentary on the Ju-Hn wai-shih (The Scholars), pg. 244*VI. Liu I-ming on How to Read the Hsi-yu chi (The Journey to the West), pg. 295*VII. Chang Hsin-chih on How to Read the Hung-lou meng (Dream of the Red Chamber), pg. 316*Appendixes, pg. 341*BIBLIOGRAPHICAL MATERIAL, pg. 367*LIST OF CONTRIBUTORS, pg. 488*INDEX, pg. 491

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Book SynopsisIn this study Karen Lawrence presents Joyce's Ulysses as it evolves through radical changes of style. She traces the abandonment of a narrative norm for a series of rhetorical masks, regarded as conscious aesthetic experiments, and considers the theoretical implication of this process, for both the writing and reading of novels. Originally publishTable of Contents*FrontMatter, pg. i*CONTENTS, pg. vii*Acknowledgments, pg. ix*Introduction, pg. 1*Chapter I. Dublin Voices, pg. 16*Chapter II. The Narrative Norm, pg. 38*Chapter III. "Aeolus": Interruption and Inventory, pg. 55*Chapter IV. "Wandering Rocks" and "Sirens": The Breakdown of Narrative, pg. 80*Chapter V. "Cyclops," "Nausicaa" and "Oxen of the Sun": Borrowed Styles, pg. 101*Chapter VI. "Circe": The Rhetoric of Drama, pg. 146*Chapter VII. "Eumaeus": The Way of All Language, pg. 165*Chapter VIII. "Ithaca": The Order of Things, pg. 180*Chapter IX. "Penelope": A Coda, pg. 203*BIBLIOGRAPHY, pg. 211*INDEX, pg. 225

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Book SynopsisIn a fascinating study of what, during the last decade, rekindled an avid readership, Judith Wilt proposes a new theory of Gothic fiction that challenges its reputation as merely a formula to be outgrown or a stock of images for the creation of terror. Emphasizing instead its status as an enduring component of the imagination, she establishes the GTable of Contents*FrontMatter, pg. i*Contents, pg. vii*List of Illustrations, pg. ix*Preface, pg. xi*Introduction: "This Heretic Narrative": Approaches To A Gothic Theoretic, pg. 3*Chapter One: Gothic Fathers: The Castle Of Otranto, The Italian, The Monk, Melmoth The Wanderer, pg. 25*Chapter Two: Gothic Brothers: Frankenstein, The Memoirs and Confessions of A Justified Sinner, Dr. Jekyll and Mr. Hyde, Dracula, pg. 62*Introduction: The Gothic Heritage, pg. 99*Chapter Three: Jane Austen: The Anxieties Of Common Life, pg. 121*Chapter Four: George Eliot: The Garment Of Fear, pg. 173*Chapter Five: D. H. Lawrence: Ghosts In The Daylight, pg. 231*Conclusion: A High, Vibrating Place, pg. 293*Index, pg. 305

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Book SynopsisThis guide to Oz, the land over the rainbow, seeks to establish Baum's importance to the history of American children's literature and to the fantasy and folklore tradition. It places Baum's Oz books into an account of his entire career.

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Book SynopsisTable of ContentsAvant-propos Introduction I. Diderot et le roman A. L'ère du soupçon B. De l'illusion à l'allusion: le roman philosophique C. Le paradoxe du romancier D. La crise de 1760-1762 E. L'œuvre pour rien II. A la recherche d'une structure A. Une insipide rapsodie B. Structure et signification C. Un ballet de l'intelligence III. Les ressources de l'écart A. La chair du livre B. Ruptures et agrafes C. Variations D. Qu'est-ce qui m'empêcherait? E. L'emploi du temps IV. Liberté, maîtres et esclaves A. Liberté et fatalisme B. Maîtrise et servitude C. L'auteur et son lecteur V. La problématique du génie A. Génies et géomètres B. Poètes et philosophes C. Sont-ils bons? sont-ils méchants? VI. Le voyage dans la nuit A. L'errance B. L'empire des signes C. Les erreurs de jugement Conclusion Liste des ouvrages consultés

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisTable of ContentsPreface Introduction Part I I. General narrative structures II. Syntagmatic aspects of the narrative sequence III. Verbal tense and narrative IV. The Use of the present tense Part II V. Prolegomena VI. Mimesis and description VII. The Extended narrations VIII. The Text as manuscript IX. The Use of the device X. Performative and constative discourse XI. Mimesis in Diderot's aesthetic Part III XII. The Epistemological premises of mimesis XIII. Literature and semiology XIV. Formalism reformulated XV. Conclusion Select bibliography

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisTable of ContentsIntroduction I.Discours dominants et maternité: médecine, droit, théologie 1. La naissance: obstétrique et réalité sociale 2. Le statut juridique de la mère 3. Théologie et maternité 4. Les Encyclopédistes Conclusion de la première partie IIA. De la faible émergence du personnage maternel 5. Les genres: rare et triste mère 6. Les temps de la maternité 7. La mère entre desseins et désirs 8. La mère dans la constellation familiale 9. La faute et la douleur IIB. Le nouveau visage maternel 10. Marivaux 11. Le théâtre, école des mères 12. L’abbé Prévost ou au nom de la mère 13. Les mères-auteurs 14. Les romans de mœurs III. 1760-1790: Servitudes et grandeurs maternelles 15. Jean-Jacques Rousseau: ‘Maman’ 16. Diderot: de la suprématie paternelle 17. La littérature d’édification: plaidoyer pour une nouvelle maternité 18. Réalisme et utopie: Rétif de la Bretonne et Louis Sébastien Mercier 19. Le roman féminin ou l’apologie maternelle 20. Les roman libertins: la maternité contre nature 21. Du vers à la scène: le respect des conventions littéraires IV. La thématique et la typologie maternelles de 1690 à 1790 22. La thématique 23. La typologie Conclusion Bibliographie Index des œuvres littéraires Index des noms de personnes Index thématique

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Book SynopsisTable of ContentsAcknowledgements Introduction I. Prévost’s narrators 1. Mémoires d’un homme de qualité 2. Cleveland 3. Le Doyen de Killerine 4. The novels of 1740 5. The late novels 6. Interpreting the narrator II. Narrative techniques 7. Generic factors 8. The observed world 9. Interpolations and parallels III. Value systems in conflict A. The code of sensibility 10. The man of emotion 11. The legitimacy of love 12. The perils of love 13. The decline of an ideal 14. Women in Prévost’s novels B. The code of honour 15. The ideal gentleman 16. The ideal and the reality 17. Worldliness 18. Man in society C. The code of religion 19. The religious life 20. Providence 21. The hierarchy of orders Conclusion Bibliography Index

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Book SynopsisL’idée directrice de ‘postcritique’ s’applique à la situation de Marivaux à l’égard de Don Quichotte: il détourne le propos critique de Cervantès, désormais lointain, pour le mettre en résonance avec la culture de son temps.Table of ContentsIntroductionI. Les œuvres de jeunesseII. La mémoireIII. Le rêve de l’écrivainIV. Le jeu de la fictionV. Don Quichotte en France, de La Fausse Clélie à Jacques le fatalisteConclusion: poétique de l’hétérogèneBibliographieIndex

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Book SynopsisEtude des modalités du temps et de l'espace dans Les Bijoux indiscrets, La Religieuse, Le Neveu de Rameau et Jacques le fataliste.Table of ContentsAbréviationsAvant-propos1. Les Bijoux indiscretsLe rôle des sourcesLe genre et la structureLe temps fragmentéAspects du temps vécuL’espace2. La ReligieuseSuzanne entre la vérité et la fictionLes couleurs du tempsLes tableaux et les lieux3. Le Neveu de RameauStructure du dialogueEspaces-temps narrativesEspaces-temps biographiquesLe matérialisme en question4. Jacques le fatalisteLe vrai dilemme du romanLes instances narrativesTemps humain, univers-tempsEbauches d’espaces‘C’était écrit là-haut…’ ConclusionBibliographieIndex des noms de personnesIndex des titres

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Book SynopsisTable of ContentsAbréviationsI L’Abbé Prévost et son milieuII La quête de l’ordre esthétiqueIII L’Abbé Prévost et la tradition littéraire Index

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Book SynopsisPour la première fois la grande diversité de son œuvre fait ici l’objet d’un examen: sa correspondance, qui mêle des observations pénétrantes sur son époque à des réflexions franches sur les diverses facettes de sa vie de provinciale dépaysée, de salonnière célèbre, d’écrivain novateur, et de femme – en toutes lettres;Trade Review'Hautement recommandé à tous les chercheurs qu'intéressent Graffigny et son temps.'French Review'Pour tout lecteur qui s’intéresse non seulement à Graffigny mais à son époque, que ce soit du point de vue de la recherche ou par simple intérêt, ce volume offre une expérience de lecture d’une grande richesse.'Eighteenth-Century FictionTable of ContentsTable des illustrationsRemerciementsAbréviations et citationsJonathan Mallinson, Françoise de Graffigny: textes et imagesA. EcritureI. Diversité et originalitéCatriona Seth, ‘Je ne suis pas bien aise d’être connuë comme auteur’: la Nouvelle espagnole de Mme de GraffignyAnne Defrance, La Princesse Azerolle ou l’Excès de la constance de Mme de Graffigny: conte parodique, conte d’auteur?Russell Goulbourne, Genre littéraire, sexe féminin: les enjeux esthétiques de CéniePerry Gethner, Les pièces nouvelles de Graffigny: de la comédie sentimentale au drameEnglish Showalter, Mme de Graffigny en 1752II. Ecrire la vieRotraud von Kulessa, Françoise de Graffigny, et la genèse des Lettres d’une Péruvienne: l’écriture comme auto-réflexionRenate Kroll, La ré-écriture de soi-même, ou exister par écrire: fiction et authenticité fictive chez Françoise de GraffignyBéatrice Didier, Epistolarité et journal intime: les lettres de jeunesse de Mme de GraffignyRenaud Redien-Collot, Le statut d’auteur dans la correspondance privée de Mme de Graffigny: assomption et renonciationIII. Graffigny, lectriceAurora Wolfgang, ‘Notre vieille amie’: Mme de Sévigné dans la correspondance de Mme de Graffigny et DevauxJonathan Mallinson, ‘Cela ne vaud pas Zaïde’: Graffigny, lectrice de Mme de La FayetteSuzan van Dijk, Les femmes se lisaient-elles? Importance des collègues pour la venue à l’écritureIV. Graffigny et ses contemporainsLaure Challandes, Mme de Graffigny et RousseauCatherine Volpilhac-Auger, Montesquieu et Mme de Graffigny: regards croisés, regards obliques, ou Histoire d’un Persan et d’une PéruvienneCatherine François-Giapicconi, Une géante et... un myrmidon? Graffigny et Nivelle de La Chaussée, à propos de Cénieet de La GouvernanteMelissa Percival, Graffigny et La Font de Saint YenneB. RéceptionI. Images de GraffignyColin Harrison, Les portraits de Mme de GraffignyJoan Hinde Stewart, ‘Still life’: la vieille dame et la mortChristina Ionescu, La série illustrative dessinée par Le Barbier l’aîné pour les Lettres d’une Péruvienne de Mme de GraffignyJean Sgard, La lettre sur CénieII. TraductionsCharlotte Simonin, Des sœurs d’outre-Manche, ou les versions anglaises de Cénie de Mme de GraffignyAnnie Rivara, Les Lettres d’une Péruvienne traduites en Angleterre et en FranceAndrew Kahn, Les Lettres d’une Péruvienne et la culture du livre en Russie au dix-huitième siècleIII. Graffigny, féministeRobin Howells, Le féminisme de la PéruvienneNadine Bérenguier, Zilia, une adolescente hors du communLaura J. Burch, La nouvelle république des lettres: Graffigny et l’amitié philosophiqueJanie Vanpée, Etre(s) sans papier et sans domicile fixe: la femme comme figure de l’étranger chez GraffignyHeidi Bostic, ‘Que faire pour être raisonnable?’: La Réunion du bon sens et de l’esprit de Françoise de GraffignyIV. Lire les Lettres d’une PéruvienneDavid Smith, Vers une édition critique des Lettres d'une PéruvienneJan Herman, Les Lettres d’une Péruvienne: nœuds et dénouementsAnn Lewis, La sensibilité dans les Lettres d’une Péruvienne: expérience esthétique, modèle de la communicationSharon Diane Nell, ‘Un grand nombre de bagatelles agréables’: Zilia vis-à-vis des divertissements du ‘rococo’Marie-Pascale Pieretti, D’un ‘échange unilatéral’ à un autre: variations sur un choix stylistique dans les Lettres d’une Péruvienne et les Lettres de Mistriss Fanni ButlerdChristina Ionescu, Bibliographie: Mme de Graffigny, sa vie et ses œuvresIndex

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Book SynopsisTrade Review'[…] ce riche volume est une mise au point utile, quant aux différents domaines de recherche actuelle concernant le roman français […]. L’ouvrage, pourvu d’un index très complet et d’une petite bibliographie des ouvrages les plus fréquemment cités […], s’impose comme un outil désormais indispensable aux chercheurs.'Eighteenth-Century Fiction, vol. 22, n° 3'It is safe to say that, whatever one’s expertise or interest may be, it will most certainly be complemented by the reading of this collection. Stewart and Delon have compiled an ensemble of studies with breadth and depth. The perspectives they offer cannot help but excite the reader by the information contained therein as well as by the indication of avenues of inquiry that, even now, remain open and are beckoning.'New Perspectives on the Eighteenth CenturyTable of ContentsPhilip Stewart et Michel Delon: IntroductionI DiscoursMichel Delon, Le détail, le réel et le réalisme dans la perspective françaiseJan Herman, Mladen Kozul, et Nathalie Kremer, Crise et triomphe du roman au XVIIIe siècle: un bilanNathalie Ferrand, La lecture du romanSuzan van Dijk, La lecture féminine: les correspondantes d’Isabelle de Charrière comme témoinsKris Peeters, Bakhtine et la question du roman: de l’autre côté du dilemmeII Formes de l’éditionUgo Dionne, Livres et chapitres: la division du roman des LumièresCatriona Seth, Les miroirs du romanPhilip Stewart, Traductions et adaptations: le roman transnationalAngus Martin, La survie des textes romanesques du XVIIIe siècle: l’enseignement des rééditionsChristophe Martin, L’émergence d’un nouvel objet de recherches: le roman illustré au XVIIIe siècleIII ContextesBenoît De Baere, La fiction et l’histoire naturelle au siècle des Lumières: fonctions, enjeux, dangersMladen Kozul, Du roman et de la religion au XVIIIe siècle: observations sur les fictions théologiquesErik Leborgne, Destins de femmes et Révolution dans l’œuvre romanesque d’Isabelle de CharrièreJean-Paul Sermain, Roman et presse au XVIIIe siècleBibliographieRésumésIndex

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Book SynopsisTrade Review'Ferrand’s thematic approach enables her to give equal weight to well-known and anonymous illustrators. […] This well-conceived anthology serves to widen access to many illustrated novels of the period, and hopefully it will stimulate further investigation in what remains an under-researched area.'- French Studies, vol. 64, n° 4'Le vaste répertoire iconographique invitera le lecteur non initié à découvrir la richesse de ce champ de recherche en plein essor, alors que les commentaires de l’auteure permettront au spécialiste d’y glaner des réflexions des plus stimulantes.'- French Review, 85:4'The selection of certain texts outside the literary canon, including libertine and pornographic novels, adds richness and originality to her examination […] The images were chosen from a vast corpus of illustrations on the basis of their connection with reading, books and libraries. This unifying theme is a compelling one, the images representing at once a reflection and a mise en abime of text itself and providing a fascinating standpoint from which to examine the act of reading.'Journal of Eighteenth-Century StudiesTable of ContentsI. A voir, à lireRegarder la littératurei. Méthodeii. Motifsiii. ConclusionsII. Une traverséePrincipes de l’anthologie1. Rares lecteurs2. La place du livre religieux3. Des bibliothèques en perspective4. Les femmes parmi leurs livres5. Livres fabriqués, exposés, imaginésIII. Corpus et indexCorpus des éditions de romans illustrésListe des illustrationsDessinateurs et graveursBibliographie critiquei. Sur l’illustration en généralii. Sur le livre et la lecture, leur iconographieiii. Histoire de l’artiv. Critique littéraireIndex

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Book Synopsisaeo This is a very accessible introduction to one of the key figures in contemporary feminist thought. aeo The approach to Simone de Beauvoir is distinctive because it examines her work as a philosopher -- this book is the first full--length assessment of Simone de Beauvoira s philosophy.Trade Review"This book is a clearly-written and tightly-organized addition to the growing scholarly interest in Simone de Beauvoir's philosophy. Kate and Edward Fullbrook provide an overview of Beauvoir's philosophical sources and an outline of her original starting point in ethics. Highlighting Beauvoir's emphasis on embodiment and intersubjectivity, they argue strongly for Beauvoir's place in current, popular ethical discussions." Eleanore Holveck, Duquesne University, Pittsburgh "This is certainly a book that needed to be written and the authors make an excellent job of it. The book can be highly recommended." Dr Elizabeth Fallaize, St. John's College, Oxford "A good working introduction to de Beauvoir's thought." Times Literary Supplement "A concise and unified picture of Beauvoir as philosopher." Women's Philosophy ReviewTable of ContentsIntroduction. 1. The Education of a Philosopher. 2. Writing for her Life. 3. Literature and Philosophy. 4. Narrative Selves. 5. Embodiment and Intersubjectivity. 6. The Ethics of Liberation. 7. Applied Ethics I: The Second Sex. 8. Applied Ethics II: Les Belles Images, The Woman Destroyed, and Old Age. Notes. Glossary. The Works of Simone de Beauvoir. Index.

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Book SynopsisI lived the same life as everyone else, the life of ordinary people, the masses. Sitting in a prison cell in the autumn of 1944, the German author Hans Fallada sums up his life under the National Socialist dictatorship, the time of inward emigration .Trade Review"This is certainly a revelatory book. As its author intended, it reveals much about the pernicious nature of Nazi rule during the Third Reich; the compromises demanded, the tribulations endured, the lives ruined. At one point Fallada laments: “Oh, how they bled us dry! How they robbed us of every joy and happiness, every smile, every friendship! Yet it also reveals something that its author did not intend, and that is Fallada’s own deeply flawed character." The Financial Times "An outspoken memoir of life under the Nazis written from a prison cell... a fascinating document" The Independent "Exquisite and troubling... one of the most powerful accounts of life in the Third Reich." The Economist "This is a remarkable book" The Scotsman ""Colourful and anecdotal reflections of life under Hitler. Fallada's diary turns out to be not a record of quotidian events inside but reminiscences of scrapes, challenges and day-to-day reality outside, from the advent of Nazi misrule to the final stages of the war."The Sunday Herald"Fallada, one of Germany's most well-regarded writers of the 20th century, tells the tale of a writer and his friends, and how the swell of Nazism means there's always a listening ear outside the door - except this time he's telling his own story" South China Morning Post "His prison diary is a heartfelt diatribe against the nazis, revealing a highly compromised man riddled with contradictions and ambiguity. In reading it, the high price Fallada paid for living out the war in his homeland is all too clear." Morning Star "A rare account of living close to an edge that you can’t quite locate in the darkness.""A rare account of living close to an edge that you can’t quite locate in the darkness." Tribune "Vivid" Sydney Morning Herald“Fallada’s strength as a diarist is to convert his unsteady, sometimes ethically questionable existence into disciplined, objective narrative. His life and writings reflect the endless need to challenge authoritarianism in both family and society.”The Tablet "This long-awaited publication will... greatly increase our knowledge of an author whose reputation has never been completely eclipsed in Germany, and who is now being rediscovered in Britain, the USA, France, and Italy. All these countries have recently published his last, posthumously published novel [Alone in Berlin], thus demonstrating his rare ability to attract the common and the literary reader alike." Modern Language Review "Recording his experiences of Nazi Germany while confined in an asylum in 1944, Hans Fallada wrote in real life what Günter Grass later wrote in fiction. An intriguing literary testament, expertly edited by two leading Fallada scholars, and skilfully translated by Allan Blunden." Geoff Wilkes, The University of QueenslandTable of ContentsIntroduction vi The 1944 Prison Diary 1 A despatch from the house of the dead. Afterword 219 The genesis of the Prison Diary manuscript 233 Chronology 236 Notes 239 Index 268

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