Literature: history and criticism Books

Book SynopsisThis new volume of JHU Press's landmark Shelley edition contains posthumous poems edited from original manuscripts. The world will surely one day feel what it has lost, wrote Mary Shelley after Percy Bysshe Shelley's premature death in July 1822. Determined to hasten that day, she recovered his unpublished and uncollected poems and sifted through his surviving notebooks and papers. In Genoa during the winter of 182223, she painstakingly transcribed poetry interlined and broken into fragments, so that the sense could only be deciphered and joined by guesses. Blasphemy and sedition laws prevented her from including her husband's most outspoken radical works, but the resulting volume, Posthumous Poems of Percy Bysshe Shelley (1824), was a magnificent display of Shelley's versatility and craftsmanship between 1816 and 1822. Few such volumes have made more difference to an author's reputation. The seventh volume of the acclaimed Complete Poetry of Percy Bysshe Shelley extracts from PosthuTrade ReviewRigorously, enthusiastically, and innovatively edited, this volume has brought excitement and zest to my Shelley-reading life.—Australian Book ReviewWith volume seven raising the bar once again, this series is the gold standard for Shelley scholarship. Its expert and illuminating readings are peerless.—Madeleine Callaghan, University of Sheffield, The Coleridge BulletinCPPBS 7 is set to become a model for editing modern poetry manuscripts. It strikes a difficult balance between philological rigor and scholarly comprehensiveness on the one hand and readability and usability at different levels of expertise on the other. Textual critics and students of Shelley's poetry will find it equally indispensable, but it will also serve as an important reference work for Mary Shelley scholars.—Valentina Varinelli, Università Cattolica del Sacro Cuore, Milan, Italy, European Romantic ReviewThis outstanding installment of an epoch-making edition of Shelley's verse will transform the opportunities afforded to emerging Shelley scholars.—Anthony Howe, Birmingham City University, UK, Review of English Studies...this volume is a triumph, it is breathtaking, it is monumental, it is a summa.—Byron JournalQuite possibly the most significant publication among this year's Romantic studies,The Complete Poetry of Percy Bysshe Shelley, Volume Seven, edited by Nora Crook, is a magisterial scholarly edition of Shelley's posthumously published poems, including "The Triumph of Life" and many other fragments that Mary Shelley first edited, including some of his most beloved shorter lyrics. Part of the ongoing editorial project now directed by Crook and Neil Fraistat, Volume Seven arrives as a stunning and indispensable book, modeling both textual stewardship and critical acumen.—Studies in English Literature 1500-1900Exciting revelations, new connections, and editorial discoveries abound in volume seven, which is testament to the brilliance of one of our greatest scholars and editors of the Shelleys, Nora Crook.—Keats-Shelley ReviewTable of ContentsList of IllustrationsAcknowledgmentsEditorial OverviewAbbreviationsTEXTSFrom the Triumph MS and Posthumous Poems (Opening Section) The Triumph of Life Lyric Fragments from the Triumph MS "An Unfinished Drama"From Posthumous Poems: Miscellaneous Poems "On the Medusa of Leonardo da Vinci" "The Fugitives" "The sun is set, the swallows are asleep"Lyrics for Mary W. Shelley's Proserpine and Midas "Arethusa" "Sacred Goddess, Mother Earth" "Song of Apollo" "Song of Pan" Autumn A Dirge "Our boat is asleep in Serchio's stream" The Zucca The good die first— The Two Spirits. An Allegory "Tomorrow" "They die—the dead return not" "O World, O Life, O Time" "Madonna, wherefore hast thou sent to me" "I fear thy kisses, gentle maiden—" "My lost William, thou in whom" "A Portal as of shadowy adamant" "The flower that smiles today" From the Arabic—imitation "One word is too often profaned" "Music" "Death is here, and death is there" "When passion's trance is overpast" "Listen, listen, Mary mine—" "O Mary dear, that you were here" "Wilt thou forget the happy hours" "The fiery mountains answer each other" "Mine eyes were dim with tears unshed" "There was a little lawny islet" "Rose leaves, when the rose is dead" "Unfathomable Sea! whose waves are years" "Tell me, Star, whose wings of light" "Rough wind that moanest loud" "Far, far away, O ye" Jan. 1. 1821From Posthumous Poems: Fragments "Ginevra" The Historical Tragedy of Charles the First "Mazenghi" "The Woodman and the Nightingale" "Art thou pale for weariness" "I loved—alas, our life is love" "And like a dying lady lean and pale" "These are two friends whose lives were undivided"COMMENTARIESFrom the Triumph MS and Posthumous Poems (Opening Section) The Triumph of Life Lyric Fragments from the Triumph MS "An Unfinished Drama"From Posthumous Poems: Miscellaneous Poems "On the Medusa of Leonardo da Vinci" "The Fugitives" "The sun is set, the swallows are asleep" Lyrics for Mary W. Shelley's Proserpine and Midas Autumn A Dirge (and Supplements) "Our boat is asleep in Serchio's stream" The Zucca The good die first— The Two Spirits. An Allegory "Tomorrow" "They die—the dead return not" "O World, O Life, O Time" "Madonna, wherefore hast thou sent to me" "I fear thy kisses, gentle maiden—" "My lost William, thou in whom" "A Portal as of shadowy adamant" "The flower that smiles today" From the Arabic—imitation "One word is too often profaned" "Music" "Death is here, and death is there" "When passion's trance is overpast" "Listen, listen, Mary mine" "O Mary dear, that you were here" "Wilt thou forget the happy hours" "The fiery mountains answer each other" "Mine eyes were dim with tears unshed" "There was a little lawny islet" "Rose leaves, when the rose is dead" "Unfathomable Sea! whose waves are years" "Tell me, Star, whose wings of light" "Rough wind that moanest loud" "Far, far away, O ye" Jan. 1. 1821From Posthumous Poems: Fragments "Ginevra" The Historical Tragedy of Charles the First "Mazenghi" "The Woodman and the Nightingale" "Art thou pale for weariness" "I loved—alas, our life is love" "And like a dying lady lean and pale" "These are two friends whose lives were undivided"HISTORICAL COLLATIONSFrom the Triumph MS and Posthumous Poems (Opening Section)From Posthumous Poems: Miscellaneous PoemsFrom Posthumous Poems: FragmentsAPPENDIXESA. Contents of Posthumous Poems of Percy Bysshe Shelley (1824), Together with a List of Manuscript Sources of Items in This VolumeB. Mary W. Shelley's Preface to Posthumous Poems of Percy Bysshe Shelley (1824)C. Source for "Ginevra": Marco Lastri, L'osservatore fiorentinoD. Charles the First: Ancillary Material I. PBS's Reading Notes II. Sketch of Acts I and II III. Jottings (Preliminary) ContributorsIndex of TitlesIndex of First Lines

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Book SynopsisA detailed study of the Great Mongol Shahnama, considered to be the greatest of all Persian illustrated manuscripts​The Great Mongol Shahnama is widely considered to be the definitive version of Firdausi’s epic poem, and the greatest of all Persian illustrated manuscripts. The paintings from this manuscript are held in private collections and institutions around the world, and have only been seen together in a single volume once since they were originally dispersed. This monograph reunites the paintings and reproduces them as 67 full-page, high quality color plates, alongside an analysis by leading scholar of Islamic art, Robert Hillenbrand. With newly commissioned photographs and insights into technical aspects of the paintings, The Great Mongol Shahnama is a comprehensive resource for those interested in Persian art and manuscripts. Distributed for Hali Publications Ltd. and the Freer Sackler, Smithsonian. Co-published by Hali Publications Ltd. and the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s National Museum of Asian Art, and supported by Qatar Museums. Exhibition Schedule:Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC (December 2020–June 2021)

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Book SynopsisDeep within New York’s compelling, sprawling history lives an odd, ornery Manhattan native named Diedrich Knickerbocker. This book invites readers into the world of Knickerbocker, the antihero who surprised everyone by becoming the standard-bearer for the city’s exceptional sense of self, or what we now call a New York “attitude.” Trade Review"A briskly engaging book." -- Christopher Benfey * New York Review of Books *"This is cultural history at its best." * The Journal of American Culture *"Elizabeth L. Bradley sorts, catalogues and deciphers the shifting Knickerbocker currents in a metropolis constantly reinventing itself. She does the sturdy Dutchman proud in a scholarly and polished rendition." * The Star-Ledger *"An engaging account of the city through the fictional Knickerbocker, who was a steady presence 'over two centuries of wrenching urban transformation, from the post-colonial to the postmodern.' ... Bradley is a perceptive and lively writer and does a superb job of tracing the many strands of the Knickerbocker myth. She provides the historical context necessary to illustrate the ways the Knickerbocker brand was invoked and provides deft analysis of the cultural meanings it accrued." * Bookforum *"Diedrich Knickerbocker...gets a history and identity worthy of New York's swagger in this exploration by Bradley of how Knickerbocker shaped the city's identity. Literary historians and proud New Yorkers alike will delight in the character who brought pomp and legend to the city first nicknamed Gotham by Washington Irving 200 years ago." * Publishers Weekly *"Brims with information about the burgeoning use of Knickerbocker as a literary device in novels, newspaper articles, and advertisements as a touchstone of popular culture. Entertaining enough for the general reader—including those planning a trip to one of the world's most visited cities—and amply annotated for the scholar, this is highly recommended." * Library Journal *"These days the word 'knickerbocker' represents 'little more than a comical handle, a Dutch-inflected sound—or a heartbreaking season at Madison Square Garden,' observes Elizabeth Bradley in Knickerbocker: The Myth Behind New York. Her slender, charming volume aims to change that. Bradley delves into the 200-year history of the term, which originated in Washington Irving's 1809 History of New York and given that New Yorkers are famously preoccupied with their own exceptionalism, they would do well to learn more about one of the city's original boosters." * Barnes & Noble Review *"Knickerbocker is a very valuable work, particularly as one of the few contemporary histories to explore how fictional texts and reading practices can have material effects on a particular place. Bradley's analysis of Knickerbocker's significance will be of great interest to literary scholars and historians of the American nineteenth century, and her counternarrative of New York's development will reward the professional and general reader alike." * Clio *"Knickerbocker is a storied name steeped in tradition—one that I am proud to have been a part of. Bradley's Knickerbocker: The Myth Behind New York offers a unique examination of how a name familiarized by Washington Irving two hundred years ago grew to become a cultural symbol of New York." -- Former U.S. Senator Bill Bradley"Those who puzzle at the incessant branding and rebranding of New York City would do well to read this fascinating, sophisticated, and witty social history of a myth. Bradley knows her facts and shrewdly and convincingly interprets them. A delightful contribution to urban studies." -- Phillip Lopate * author of Waterfront: A Journey Around Manhattan *"Is New York different from other cities, or does it just have different myths? Focusing on a tale first spun by Washington Irving two centuries ago, Knickerbocker answers this question with grace and skill. It is a delight to read." -- Kenneth T. Jackson * editor-in-chief, The Encyclopedia of New York *"A briskly engaging book." -- Christopher Benfey * New York Review of Books *"This is cultural history at its best." * The Journal of American Culture *"Elizabeth L. Bradley sorts, catalogues and deciphers the shifting Knickerbocker currents in a metropolis constantly reinventing itself. She does the sturdy Dutchman proud in a scholarly and polished rendition." * The Star-Ledger *"An engaging account of the city through the fictional Knickerbocker, who was a steady presence 'over two centuries of wrenching urban transformation, from the post-colonial to the postmodern.' ... Bradley is a perceptive and lively writer and does a superb job of tracing the many strands of the Knickerbocker myth. She provides the historical context necessary to illustrate the ways the Knickerbocker brand was invoked and provides deft analysis of the cultural meanings it accrued." * Bookforum *"Diedrich Knickerbocker...gets a history and identity worthy of New York's swagger in this exploration by Bradley of how Knickerbocker shaped the city's identity. Literary historians and proud New Yorkers alike will delight in the character who brought pomp and legend to the city first nicknamed Gotham by Washington Irving 200 years ago." * Publishers Weekly *"Brims with information about the burgeoning use of Knickerbocker as a literary device in novels, newspaper articles, and advertisements as a touchstone of popular culture. Entertaining enough for the general reader—including those planning a trip to one of the world's most visited cities—and amply annotated for the scholar, this is highly recommended." * Library Journal *"These days the word 'knickerbocker' represents 'little more than a comical handle, a Dutch-inflected sound—or a heartbreaking season at Madison Square Garden,' observes Elizabeth Bradley in Knickerbocker: The Myth Behind New York. Her slender, charming volume aims to change that. Bradley delves into the 200-year history of the term, which originated in Washington Irving's 1809 History of New York and given that New Yorkers are famously preoccupied with their own exceptionalism, they would do well to learn more about one of the city's original boosters." * Barnes & Noble Review *"Knickerbocker is a very valuable work, particularly as one of the few contemporary histories to explore how fictional texts and reading practices can have material effects on a particular place. Bradley's analysis of Knickerbocker's significance will be of great interest to literary scholars and historians of the American nineteenth century, and her counternarrative of New York's development will reward the professional and general reader alike." * Clio *"Knickerbocker is a storied name steeped in tradition—one that I am proud to have been a part of. Bradley's Knickerbocker: The Myth Behind New York offers a unique examination of how a name familiarized by Washington Irving two hundred years ago grew to become a cultural symbol of New York." -- Former U.S. Senator Bill Bradley"Those who puzzle at the incessant branding and rebranding of New York City would do well to read this fascinating, sophisticated, and witty social history of a myth. Bradley knows her facts and shrewdly and convincingly interprets them. A delightful contribution to urban studies." -- Phillip Lopate * author of Waterfront: A Journey Around Manhattan *"Is New York different from other cities, or does it just have different myths? Focusing on a tale first spun by Washington Irving two centuries ago, Knickerbocker answers this question with grace and skill. It is a delight to read." -- Kenneth T. Jackson * editor-in-chief, The Encyclopedia of New York *Table of ContentsAcknowledgments Abbreviations Introduction The Picture of Knickerbocker Inheriting Knickerbocker Fashioning a Knickerbocracy Knickerbocker in a New Century Conclusion Notes Index

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Book SynopsisAgnes Grey was one of a trio of novels that defined the 'governess novel' in 1847 and 1848. Alongside Jane Eyre and Vanity Fair, Agnes Grey may be the most radical of the three. Agnes Grey is the younger daughter of a clergyman and his wife of modest means, cherished but also infantilized. When her father's mercantile investment goes disastrously wrong, Agnes decides to contribute to the family's financial rebuilding by working as a governess, despite her mother and sister's misgivings about her fitness for such work. Her first position is indeed trying, as the parents and children are uncouth and even cruel. Her second position is slightly more congenial, but she is still manipulated and ignored. Still, Agnes perseveres and begins to build relationships outside the family, most importantly, with a kind, empathetic young curate. As life brings more trials to Agnes and her family, we watch her persevere in her steady path of hope and determination.This Broadview Edition provides extensive historical documents on the novel's reception, the role of the governess in Victorian England, and contemporary debates about the treatment of non-human animals.Trade Review“This engaging new edition makes a strong case for the radical nature of Anne Brontë’s novel and for its place as a seminal feminist work. It contains a wealth of important material for students, especially texts from the Victorian period about the plight of governesses and the issues of animal cruelty and animal rights—key historical contexts for the novel. The introduction provides an excellent grounding in the period and in the place of Anne Brontë’s novel in relation to its era and to the books of her more-famous sisters. It’s a timely and necessary contribution to Brontë studies.” — Deborah Lutz, University of Louisville“Anne Brontë has been the frequent recipient of barbed faint praise that inevitably positions her as ‘the other’ Brontë sister. But in this well-conceived and reader-friendly new edition of Anne’s debut 1847 novel, Agnes Grey, Robin Inboden lays out a persuasive case for why we should care about Brontë’s writing for its own sake. Even if we may not quite join late-Victorian Irish novelist George Moore in his startling judgment that Agnes Grey is ‘the most perfect prose narrative in English literature,’ Inboden’s resourcefully intelligent editorial work allows us to appreciate this novel for the rich and fascinating text that it is. Especially welcome here is the extensive appendix containing a range of materials contextualizing the novel in relation to the early-Victorian animal welfare movement.” — Ivan Kreilkamp, Indiana University“Broadview’s edition of Agnes Grey is a welcome contribution to the rehabilitation of Anne Brontë’s reputation and her place in Victorian literary and cultural studies.… Broadview’s editions are wonderfully affordable and feature a wealth of secondary sources, reception history, and criticism in their apparatus, making them extremely valuable and relevant for teaching and research. Robin Inboden’s new edition provides teachers, students, and literary scholars with a most welcome resource, well-timed to coincide with Anne’s bicentenary year.” — Deborah A. Logan, Victorians: A Journal of Culture and LiteratureTable of Contents Acknowledgements Introduction Anne Brontë: A Brief Chronology A Note on the Text Agnes Grey Appendix A: Other Writings by and about Anne Brontë 1. From Charlotte Brontë to Ellen Nussey (letter, 15 April 1839) 2. From Anne Brontë, Diary Paper (30 July 1841) 3. From Charlotte Brontë to Ellen Nussey (letter, 7 August 1841) 4. From Anne Brontë, Diary Paper (31 July 1845) 5. Anne Brontë, “The Bluebell” (22 August 1840) 6. Acton Bell [Anne Brontë], “Appeal” (28 August 1840) 7. Anne Brontë, “Lines Written at [Thorp] Green” (19 August 1841) 8. Acton Bell [Anne Brontë], “Lines Composed in a Wood on a Windy Day” (30 December 1842) 9. From Ellen Nussey, “Reminiscences of Charlotte Brontë” (1871) 10. From Currer Bell [Charlotte Brontë], “Biographical Notice of Ellis and Acton Bell” (1850) Appendix B: Contemporary and Early Reviews and Responses 1. From Spectator (18 December 1847) 2. From Henry F. Chorley, Athenaeum (25 December 1847) 3. From Douglas Jerrold’s Weekly Newspaper (15 January 1848) 4. From New Monthly Magazine (January 1848) 5. From Atlas (22 January 1848) 6. From Portland [Maine] Transcript (5 January 1850) 7. From Graham’s Magazine [Philadelphia] (1 February 1850) 8. From W.C. Roscoe, “Miss Brontë,” National Review (July 1857) 9. From Mary Augusta Ward, “Introduction,” The Tenant of Wildfell Hall (1900) 10. From George Moore, Conversations in Ebury Street (1910) Appendix C: The Governess in Society 1. Maria Smith Abdy, “A Governess Wanted,” Metropolitan Magazine (May 1836) 2. From George Stephen, The Guide to Service: The Governess (1844) 3. From “Hints on the Modern Governess System,” Fraser’s Magazine (November 1844) Appendix D: Humane Treatment of Animals 1. From Isaac Watts, A Discourse on the Education of Children and Youth (1725) 2. From Thomas Erskine, Speech … On … Preventing … Cruelty to Animals (1809) 3. From “Society for the Prevention of Cruelty to Animals,” Times (17 June 1824) 4. From Sarah Burdett, The Rights of Animals (1839) 5. From Charlotte Elizabeth [Tonna], Kindness to Animals (c. 1845) 6. C.S., “The Lost Nestlings,” A Mother’s Lessons in Kindness to Animals (c. 1862) Works Cited and Select Bibliography

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Book SynopsisToby Widdicombe is Professor of English at the University of Alaska Anchorage, USA. His previous books include Simply Shakespeare (2001).Trade ReviewThe book examines a range of themes and content across Tolkien’s work and life and brings them together in a tidy package. Widdicombe has done a fine job across the book as a whole. * Science Fiction Research Association (SFRA) *J.R.R. Tolkien: A Guide for the Perplexed helps dispel the confusion many students feel when first studying Tolkien’s secondary world. This engagingly written and insightful volume will prove a useful resource in classrooms. -- William Fliss, Tolkien Archivist, Marquette University, United StatesTable of ContentsAcknowledgements Foreword Introduction Chapter 1: Tolkien’s Life and Art Chapter 2: Tolkien’s Legendarium Chapter 3: Tolkien and His Languages Chapter 4: Tolkien on Time Chapter 5: Tolkien on Peoples Chapter 6: Tolkien’s Themes Afterword Appendix A: Tolkien’s Sources Appendix B: Films of the Legendarium Appendix C: The Scholarship on Tolkien References

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Book SynopsisFew works in world literature have inspired so vast an audience in nations with radically different languages and cultures as theMahabharata. Written some 2,000 years ago and probably the longest Indian epic ever composed, it is a story of dynastic struggle that culminates in a fatal clash between two branches of a single ruling family. It is a moral and philosophical tale as well as a historical one. In his introduction, Sanskritist B. A. van Nooten notes that apart from William Buck's rendition no other English version has been able to capture the blend of religion and martial spirit that pervades the original epic.Table of ContentsPublisher’s Preface Introduction PART I. IN THE BEGINNING 1. A Mine of Jewels and Gems 2. The Ring and the Well 3. Fire and Flame 4. Indraprastha 5. The Falling Sand PART II. IN THE MIDDLE 6. Nala and Damayanti 7. The Th ousand-Petaled Lotus 8. An Iron Net 9. Virata 10. The Invasion 11. Do Not Tell 12. Sanjaya Returns 13. Trees of Gold 14. The Enchanted Lake 15. The Night PART III. IN THE END 16. The Blade of Grass 17. The Lonely Encounter 18. Parikshita 19. The Timeless Path 20. The City of Gates Notes Reference List of Characters

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Book SynopsisPoetry by Sebastiano Aglieco Annelisa Alleva Elisa Biagini Elisa Davoglio Alessandro De Francesco Sonia Gentili Giuliano Mesa Luigi Nacci Elio Pecora Maria Luisa Spaziani Andrea Zanzotto Federico Zuliani Edited by Brunella Antomarini Berenice Cocciolillo Rosa Filardi On the occasion of John Cabot University’s fortieth anniversary, we are proud to present the fifth edition of the InVerse poetry anthology. In publishing InVerse, the University is true to its deepest mission and commitment: to bring together Anglo-American and Italian cultures. Franco Pavoncello PresidentTable of ContentsIntroduction The Task of the Translator Today Translators Credits Andrea Zanzotto Giuliano Mesa Frederico Zuliani Elisa Biagini Luigi Nacci Alessandro De Francesco Elisa Davoglio Maria Luisa Spaziani Elio Pecora Annelisa Alleva Sebastiano Aglieco Sonia Gentili Biographies

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Book SynopsisTrade Review"[A] masterful piece of scholarship. . . . Baden’s accessible prose will make this exceptional work appeal to scholars and general readers alike." * Publishers Weekly *"Baden’s clear, insightful, and fascinating overview of Exodus demonstrates how powerful and inspiring this biblical narrative has been throughout history in religious, political, and social settings."---Mark Scarlata, Church Times"Assman brings forth an intense interpretation. . . . this book is clearly a product of meticulous work and a life-long experience and must be read by graduate theology students, in particular the ones who study Jewish identity and religion."---Dr Hafize Zor, Rest Journal

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Book SynopsisTable of ContentsPreface, Acknowledgments, 1. Life Narrative: Definitions and Distinctions, 2. Autobiographical Subjects, 3. Autobiographical Acts, 4. Life Narrative in Historical Perspective, 5. In the Wake of the Memoir Boom, 6. The Visual-Verbal-Virtual Contexts of Life Narrative, 7. A History of Autobiography Criticism, Part I: Theorizing Autobiography, 8. A History of Autobiography Criticism, Part II: Expanding Autobiography Studies, 9. A Tool Kit: Twenty-four Strategies for Reading Life Narratives, Appendix A. Genres of Life Narrative, Appendix B. Group and Classroom Projects, Appendix C. Journals and Internet Resources, Notes, Bibliography, Index

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Book SynopsisThis book considers Mansfield's ambivalent position as a colonial woman writer by examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum.

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Book SynopsisTrade Review“Alexander Kluge and Gerhard Richter’s December (translated by Martin Chalmers) revives a related tradition: the calendar as history, or the 'chronicle.' Kluge’s texts—one for each day of the month—appear opposite images of winter wastescapes by Richter, together forming a stark, disconcerting record of a Germany frozen if not temporally then spiritually.” -- Joshua Cohen * Harper's *"December physically ferries the reader back and forth between word and image, prompting a search for equivalents, as well as for those lost elements that have no equivalents. The space that December inhabits—a winter at once ominous and intimate, the last breath of the year in anticipation of its end and rebirth—is not unlike the space of translation." -- Madeleine LaRue * Quarterly Conversation *Table of Contents1 December 19412 December 19913 December 19314 December 19415 December 19426 December 19897 December 19328 December 19419 December 194110 December 193210 December 194110 December 194410 December 200911 December 194412 December 200913 December 200914 December 200915 December 200916 December 200917 December 200918 December 194119 December 200920 December 183221 December 194522 December 194323 December 194323 December 193224 December 194325 December 200926 December 200427 December 200328 December 198929 December 21,999 BC30 December 194031 December 2009Calendars Are Conservative

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Book SynopsisThe past is what happened. History is what we remember and write about that past, the narratives we craft to make sense out of our memories and their sources. But what does it mean to look at the past and to remember that "nothing happened"? Why might we feel as if "nothing is the way it was"? This book transforms these utterly ordinary observations and redefines "Nothing" as something we have known and can remember. "Nothing" has been a catch-all term for everything that is supposedly uninteresting or is just not there. It will take some—possibly considerable—mental adjustment before we can see Nothing as Susan A. Crane does here, with a capital "n." But Nothing has actually been happening all along. As Crane shows in her witty and provocative discussion, Nothing is nothing less than fascinating. When Nothing has changed but we think that it should have, we might call that injustice; when Nothing has happened over a long, slow period of time, we might call that boring. Justice and boredom have histories. So too does being relieved or disappointed when Nothing happens—for instance, when a forecasted end of the world does not occur, and millennial movements have to regroup. By paying attention to how we understand Nothing to be happening in the present, what it means to "know Nothing" or to "do Nothing," we can begin to ask how those experiences will be remembered. Susan A. Crane moves effortlessly between different modes of seeing Nothing, drawing on visual analysis and cultural studies to suggest a new way of thinking about history. By remembering how Nothing happened, or how Nothing is the way it was, or how Nothing has changed, we can recover histories that were there all along.Trade Review"A startlingly original book: incisive, layered, punny and funny, politically sensitive and passionate, feisty, and thoroughly unimpressed with authority even when impressed with authority's insights."—Peter Fritzsche, author of Hitler's First Hundred Days: When Germans Embraced the Third Reich"Nothing Happened is a delightful romp through what is really meant when nothing is invoked to describe something. This is a remarkably original book that transforms how we see history. It is clever and funny and serious and illuminating. You won't want to put it down."—Marita Sturken, author of Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero"Nothing's left? What does it mean to say that—of a page, of a photo, of a street, of a city, of a loved one? Susan A. Crane, in her invigorating and often funny study of Nothing, tells us vividly why saying Nothing reveals so much about its speaker and so little about history."—Peter Toohey, author of Hold On: The Life, Science, and Art of Waiting"Written with both wide-ranging intelligence and intellectual courage, Nothing Happened is a book of striking interest and originality. Susan A. Crane mobilizes a remarkable range of material and knowledge, creating her very idiosyncratic, and serially insightful discussion on a single unfathomable paradox."—Geoff Eley, author of A Crooked Line: From Cultural History to the History of Society"[Crane] does not crowd her book or overwhelm the reader. Her patience remains consistent throughout, ensuring the reader's arrival in the end regardless of their scholarly starting point. Nothing Happened takes time to digest and can be enjoyed a second time around....Crane teaches the reader a way to view history. What we do with it is up to us."—Vesper North, Los Angeles Review of Books"Crane's book deserves attention because it deliberately changes the common point of view: Historians are usually aware of evolutionary processes, movements, acts of differentiation and thus of change in time. The author invites her readers to challenge such an 'action-based' approach to history by considering time as a continuum and by focusing not on events but on the 'gap' between them, when things seemingly remain the same."—Anna Karla, International Network for the Theory of History"Crane develops her imaginative argument in a conversational prose style that is filled with puns and references to her own life experiences. She is always present in her text, even when the complexity of Nothing becomes most mind-bending and when her stories move most deeply into the lives of others. This challenging book may push most historians beyond their usual epistemological assumptions, but its provocative themes and remarkable 'episodic' examples will also help them think about the possible significance in the sites of Nothingness they encounter in their own research. More generally, Nothing Happened should broaden the historical conversation among all those who believe that the past is never really dead and that everything has a history."—Lloyd Kramer, Journal of Modern HistoryTable of ContentsIntroduction. Episodes in a History of Nothing 1. Studying How Nothing Happens 2. Nothing Is the Way It Was 3. Nothing Happened Conclusion. There Is Nothing Left to Say

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Book SynopsisSocialist Cosmopolitanism offers an innovative interpretation of literary works from the Mao era that reads Chinese socialist literature as world literature. Nicolai Volland demonstrates that Chinese socialist literature was not driven solely by politics but by an ambitious—but ultimately doomed—attempt to redraw the literary world map.Trade ReviewNicolai Volland has tackled one of the most provocative issues in modern Chinese and world literature. Chinese socialist literature from the 1940s to the eve of the Great Cultural Revolution has for decades been interpreted solely in terms of propaganda. Volland argues for a more comprehensive understanding of its conception, production, circulation, and reception. Through the prism of socialist cosmopolitanism, Volland offers a new look at issues from translation to transculturation, from the technology of media to the politics of world literature. -- David Der-wei Wang, Harvard UniversityThis book should be required reading for anyone interested in the development of global literary systems in the twentieth and twenty-first centuries. Volland skillfully sketches the structure of a socialist literary world-system from the Chinese perspective, revealing exciting possibilities for world literature studies. As noteworthy for its sensitive readings of its texts as for its theoretical argument, Volland's book breaks important new ground. -- Alexander Beecroft, University of South CarolinaSocialist Cosmopolitanism forcefully intervenes in the study of modernity, crosscultural circulation, and Communist cultural institutions. The book contributes new paradigms to the study of modern China, world literature, and literary history and criticism. Volland argues that the Maoist "red classics" should be understood as part of the trajectory of literary development in China and abroad. Moreover, he shows that the Cold War ideological polarization was accompanied by a strong cosmopolitan impulse, one that has shaped literary works and the concept of literature itself. -- Yomi Braester, University of WashingtonAn engaging study of Chinese communist literature. * Hyperallergic *Theoretically informed, closely argued, and elegantly written. . . . Socialist Cosmopolitanism is a must-read for anyone interested in Chinese socialist culture and will undoubtedly further animate studies on cosmopolitanisms, transculturation, and world literature among scholars from across disciplines. -- Tie Xiao * Modern Chinese Literature and Culture *Nicolai Volland in Socialist Cosmopolitanism has taken on [a] herculean task, and he has succeeded with nuance and grace. -- Lisa Rofel * The China Journal *Within the growing body of scholarship reassessing the early years of the PRC in the bottom-up perspective of everyday history, Nicolai Volland’s study of the post-1949 literary system represents a valuable contribution. It provides new answers to questions about what ordinary people were commonly reading, how Chinese literature fitted into the new international cultural system centred on Moscow, and how Chinese writers were encouraged to contribute to building the new state. . . . Both historians and literature scholars will therefore find Volland’s study of great value in providing a richer, more nuanced picture of cultural production in the early PRC. -- Sebastian Veg * China Quarterly *[Socialist Cosmopolitanism] makes an important contribution to our understanding of both modern Chinese literature and global socialist culture, and is written in an extremely accessible voice that makes it a genuine pleasure to read. -- Krista Van Fleit * China Perspectives *This book is a valuable addition to Western studies of the culture of the early years of the People’s Republic. . . . Volland’s contribution demonstrates the international dimension of Chinese culture, in particular the profound influence of the Soviet Union, in this pivotal period. -- Richard King * Modern Language Quarterly *Socialist Cosmopolitanism enriches our understanding of the much discussed notion of 'world literature' by situating Chinese socialist literature as part of a transnational and pansocialist literary front. -- Gal Gvili * Comparative Literature Studies *Recommended. * Choice *Table of ContentsAcknowledgmentsIntroduction1. The Politics of Texts in Motion2. The Geopoetics of Land Reform in Northeast Asia3. Fictionalizing the International Working Class4. Soviet Spaceships in Socialist China5. Sons and Daughters of the Revolution6. Mapping the Brave New World of LiteratureConclusionNotesGlossary of Chinese CharactersBibliographyIndex

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Book SynopsisUn análisis de la obra poética de Lope de Vega revela cómo amoldó su propio personaje "Lope" para adecuarse, generalmente con éxito, a los cambios de su entorno. La obra poética de Lope de Vega se diferencia del resto de la producción del Siglo de Oro por una insistente singularidad: escenas y figuras de la vida del autor aparecen frecuentemente en sus poemas. La crítica y el público general ha respondido a esta característica desde una perspectiva post-romántica, considerando que Lope escribió con sinceridad e inspiración biográfica, impulsado por su apasionada vida personal. En este libro se analiza lo que los post-románticos consideran "sinceridad" como un recurso literario. Lope consigue una apariencia de sinceridad pero, de hecho, reaccionaba a los cambios de su entorno social y literario creando nuevas actitudes "biográficas". Ensu poesía amorosa y épica, su conocida vida amorosa le proporciona fama y reconocimiento. En el Isidro, se presenta como el genio defensor de lo castellano y español por antonomasia. En las Rimas sacras adopta la retórica religiosa de la época para contrarrestar el éxito de Góngora en los círculos cortesanos. Finalmente, en las Rimas de Tomé de Burguillos repasa irónicamente su carrera poética desde la perspectiva de uno. Antonio Sánchez Jiménez es profesor de español en Miami University, Ohio.Table of ContentsIntroducción: imagen e imágenes de Lope - Antonio Sanchez Jimenez Castellano portugués. El poeta enamorado - Antonio Sanchez Jimenez La vega llana. El poeta del pueblo - Antonio Sanchez Jimenez Mea grandíssima culpa. El pecador arrepentido - Antonio Sanchez Jimenez Autoparodia y desengaño - Antonio Sanchez Jimenez Conclusión: un entierro `de Lope' - Antonio Sanchez Jimenez

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Book SynopsisTrade Review"Finalist for the Mavis Gallant Award for Non-Fiction, Quebec Writers’ Federation""The Closet is a major accomplishment that promises to be the definitive word on its subject."---Beth Kowaleski Wallace, Eighteenth-Century Studies"Bobker’s study succeeds in illuminating a fascinating topic with a wealth of detail pulled from various disciplines. . . it also shows the way monographs may go beyond a reconstruction of the past to include examining what this version of the past means for the present."---Rachel Ramsey, Eighteenth-Century Fiction"Providing a careful look at 18th-century historical and fictional texts, Bobker expands contemporary and commonplace ideas of the closet, its early use, and how it was initially developed. . . . Recommended." * Choice Reviews *"[This book] is a kind of cabinet of curiosities in itself, a curated collection to delight, educate and intrigue the reader and including in its wide scope both architectural and social history, queer theory and classic English literature."---Sue Nicholson, pepysdiary.com"Smart, enjoyable, and ground-breaking."---Mary Peace, ABO: Interactive Journal for Women in the Arts, 1640-1830

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Book SynopsisAn extensively illustrated catalog for an exhibition of alternative comics, featuring essays that offer interdisciplinary perspectives. This catalog accompanies an exhibition of alternative comics from the 1980s and 1990s with a particular focus upon artists who contributed to the anthologies Raw (198091) and Weirdo (198194) and comics from venues such as alternative newspapers and independent presses. Following the popularity and eventual decline of underground comics in the 1960s and 1970s, this next generation of cartoonists explored more complex themes and forms and garnered eclectic readers in new markets. Featuring 180 color illustrations, this book comprehensively examines the world of these comics from interdisciplinary perspectives. Essayists from art historical, literary, and other fields focus on the role of influential editors and publishers as well as the strategies artists employed to encourage readers to take the art form seriously. Subjects include the aesthetics of Raw and Weirdo, the punk-influenced work of Gary Panter, and the genre-breaking work of the Hernandez Brothers.

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Book SynopsisRevelations on craft from a foundational scholar of Cormac McCarthyDevotees of Cormac McCarthy's novels are legion, and deservedly so. Embracing Vocation, which tells the tale of his journey to become one of America's greatest living writers, will be invaluable to scholars and literary critics—and to the many fans—interested in his work.Dianne C. Luce, a foundational scholar of McCarthy's writing, through extensive archival research, examines the first fifteen years of his career and his earliest novels. Novel by novel, Luce traces each book's evolution. In the process she unveils McCarthy's working processes as well as his personal, literary, and professional influences, highlighting his ferocious devotion to both his craft and burgeoning art. Luce invites us to see the fascinating evolution of an American author with a unique vision all his own. Until there is a full-on biography, this study, along with Luce's previous, Reading the World: Cormac McCarthy's Tennessee Period, is the finest available portrait of an American genius unfolding.

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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 SynopsisGayatri Chakravorty Spivak declares the death of comparative literature as we know it and sounds an urgent call for a new comparative literature, in which the discipline is reborn.Table of ContentsPreface to the Twentieth Anniversary EditionAcknowledgments1. Crossing Borders2. Collectivities3. PlanetarityNotesIndex

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

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

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

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

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

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Book SynopsisTrade ReviewBarchas is indeed the ultimate Austen book hunter, and we are the grateful recipients of her obsession.—Austenprose - A Jane Austen BlogOver the last 25 years, amid the releases of various screen adaptations imagining new lives for her novels, the critical conversation around Jane Austen has been much occupied with the diverse responses of her diverse reading communities: academic and popular, elite and fan-based. Janine Barchas's exuberantly illustrated study, The Lost Books of Jane Austen, rides this wave with panache.—Kathryn Sutherland, New York TimesJanine Barchas leads her readers on a journey into the bibliographically uncharted land of unidentified reprints and cast-off mass-marketed paperbacks to discover who was reading Austen and when and why. As a study of packaging and design, it is lavishly illustrated, but that is a mere bonus to the author's brilliant thesis and erudite delivery. Even if Austen isn't your cup of tea, this volume will change the way you think about publishers and readers. It's a landmark in the scholarship of book history.—Rebecca Rego Barry, Fine Books & CollectionsFor all the Janeites on your list, reach for The Lost Books of Jane Austen . . . it's a fascinating, richly illustrated study of what we can learn from the numerous popular editions of Austen's novels that appeared during the 19th and 20th centuries.—Michael Dirda, The Washington PostIn addition to the vivid reproductions and Barchas' careful narrative of Austen's publishing history, The Lost Books of Jane Austen connects surviving cheap editions with their owners, and Barchas shares what she's found of their histories. It makes for an unexpectedly personal touch in this scholarly tome – one that makes you feel that any copy of Austen's work you have has value to history, and by extension, you do, too.—Robert Faires, The Austin Chronicle. . . a beautifully illustrated exploration, indeed compendium, of the popular editions of Austen's novels that have appeared over the last two centuries . . . The lesson of this delicious book is that [Jane Austen] was even more popular for even longer with an even greater variety of readers than we ever thought.—John Mullan, The GuardianThe history of Austen's popularity is the subject of Janine Barchas's important and groundbreaking The Lost Books of Jane Austen. Barchas is a book historian, with access to an extraordinary private collection of Jane Austen editions. Drawing on far-ranging evidence, she examines popular books that did not make it into scholarly libraries.—Paula Byrne, Times Literary SupplementCompelling reading, both as social history and as literary detective work . . . [The Lost Books of Jane Austen] will delight Janeites and bibliophiles in equal measure. An outstanding addition to any book-lover's library.—Jane Austen's Regency WorldIt's not hard to find books on books, but like any self-reflective medium, it's harder to find preaching that carries beyond the chorus. Remarkably, The Lost Books of Jane Austen by Janine Barchas a University of Texas English professor and Austen scholar finds something fresh to say about the exhaustedly-mined author. It's a visual study of Austen's publishing history that, in many ways, provides a wider history of how early popular novels traveled across borders and class.—Christopher Borrelli, Chicago TribuneBarchas provides the deep historical substratum that underlies [Austen's] enduring popularity and marketability.—Louis J. Kern, The Key ReporterIf you have any serious interest at all in Jane Austen, then YOU MUST READ THIS BOOK.—Susannah Fullerton, President of the Jane Austen Society of AustraliaI laughed, I cried, I learned — I was wowed!—Deborah Barnum, JASNA NewsBarchas has written a superbly original book, a work of literary archaeology, and the icing on the cake is that it's a beautifully produced publication in its own right – filled with over a hundred colour photographs of various editions of Austen that are as gorgeous as the couture on show in Emma, the latest film version of one of her novels.—Sean Sheehan, The PrismaA beautiful, completely unexpected (to me) spectacularly illustrated, wonderfully researched book about publishing, Jane Austen, her readership (and its academic misapprehension), and more. The pages turn themselves and there's a WOW! on every page, often several of them in a paragraph.—Jack Cella, The Book Beat[A] powerful, beautifully timed and precisely sequenced book.—Tony Voss, The Jane Austen Society of AustraliaAn enjoyable book to browse, with its beautiful illustrations, The Lost Books of Jane Austen describes a journey of hands-on research that may well kindle, or rekindle, enthusiasm for a form of archival work that often needs to leave the archives. The sheer amount of research is impressive, providing a slew of materials for further analysis and rediscovery work.—Modern Language Quarterlyboth entertaining and profound...The story Barchas tells is dynamic and playful, moving with the speed of the trains whose rise to prominence made the Railway Editions discussed throughout the book such a ready venue for the popular dispersal of Austen novels.—Erin M. Goss, European Romantic Reviewanother ground-breaking work.—Gill Ballinger, University of the West of England, Modern Language Review. . . a fascinating monograph that delves into the history of those forgotten books.—Raquel C. Pico, Yorokobu MagazineIlluminating....Barchas's observant eye for the details of fonts and engraving, her inventiveness and persistence of approach, allow her to build on the ironic tension between ephemera, preservation, and remembrance, offering an important alternative history not just of Austen's canonization but also of a lost diversity of readerships and the institutionalization and decay of literary scholarship.—Eighteenth-Century StudiesTable of ContentsPreface Vignette I. Marianne & Gertrude Introduction. Austen on the Cheap Vignette II. Emma at the Seaside Chapter 1. Paperback Fighter: Austen for the People Vignette III. The Old Sea Captain & William Price Chapter 2. Sense, Sensibility, and Soap: Lever Promotions in the 1890s Vignette IV. Charlotte & a Real Castle Chapter 3. Looking Divine: Wrapping Austen in the Religious Vignette V. Young Heman's Summer in Paris Chapter 4. Selling with Paintings: A Curious History of the Cheap Prestige Reprint Vignette VI. Lady Isabella's Mansfield Park Chapter 5. Pinking Jane Austen: The Turn to "Chick Lit" Vignette VII. Annie's Prized Gift CodaAcknowledgments Notes Selected Works Cited Index

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Book SynopsisA new account of tragedy and its fundamental position in Western cultureTrade Review“Eagleton suggests that for postmodernists who think unity of purpose is an illusion, tragedy simply highlights the fact. Certainly, an enduring point of tragedy is that some tragic events serve no obvious purpose.”—Nick Mattise, Insights Magazine"Many discussions of tragedy point out that calling an event or situation “tragic” these days is really just an emotionally charged way of saying “very sad indeed”; it has little to do with the literary and philosophical conventions that we associate with tragedy as an art form...One of the most important features of Terry Eagleton’s brief but resourceful new book on the subject is the way in which he exposes the shadow side of any such approach."—Rowan Williams, The Tablet “[S]ets particular understandings of tragic art in their (usually Marxist) historical context”—Richard Harries, Church Times“Tragedy will be widely read and is an engaging snapshot of a life-time's thinking about the genre of tragedy.”—Simon Goldhill, Times Literary Supplement“There is certainly a sense of filling in some gaps from the earlier tome, including elements of expansion and elaboration…As one would expect from Eagleton’s voracious intellectual appetite, vast swathes of critical and philosophical writing on tragedy since 2003 are factored into the general argument too.”—Tony Pinkney, Key Words: A Journal of Cultural Materialism

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