Search results for ""bucknell university press""

This book exposes how Fado lyricists have appropriated popular novelist and playwright Júlio Danta's forging of Mouraria fadista/ prostitute Maria Severa as a national heroine, and the Fado as the national song—in A Severa (1901) and A Severa: Peça em Quatro Actos (1901)—to manifest a sub-rosa criticism of the Estado Novo's demolition of the Mouraria between the 1930s and 1970s. The lyricists exploit Dantas's fictionalization/dramatization of Severa's life, death, and consequent legacy in its attempt to link Severa's Mouraria and the Fado to the Portuguese character, to evoke national sympathy, or even outrage for the local cause of the erasing of the Mouraria. In the fado novo 's recontextualization of Dantas's Mouraria, we observe a criticism of the imminent destruction of the Mouraria's three faces: the fadista , the artistocratic, and the Christian. The lyrics of the fado novo of the 1930s to 1970s lament the demolitions that have taken place and warn against further erasing Dantas' Mouraria.

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In nineteenth-century France an obsession with jealousy swept the culture as a whole. Virtually every major French novelist employed it as a central plot device. At the same time, jealousy became a key theme for a broad range of medical, journalistic, and moralist authors interested in the study of contemporary mores. In The Anxiety of Dispossession: Jealousy in Nineteenth-Century French Culture, Masha Belenky argues that it was through narratives of jealousy that writers grappled with the crises of political and moral authority, anxieties surrounding changing gender roles, and new ideas about marriage that defined post-Revolution

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This volume brings together issues of gender, class, and species through a study of a selection of poetry by five eighteenth-century British laboring-class women poets: Mary Collier, Mary Leapor, Elizabeth Hands, Ann Yearsley, and Janet Little. Extending the feminist concept of 'interlocking oppressions' to include a consideration of the link between women and animals, Lactilla Tends her Fav'rite Cow benefits from the foundations set by earlier studies of laboring-class writers even as it extends their conclusions through the use of an explicitly ecocritical perspective. As well, the book's specific focus on the period between 1740 and 1800 contributes to furthering the nascent ecocritical practice in eighteenth-century studies.

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Feeling British argues that the discourse of sympathy both encourages and problematizes a sense of shared national identity in eighteenth-century and Romantic British literature and culture. Although the 1707 Act of Union officially joined England and Scotland, government policy alone could not overcome centuries of feuding and ill will between these nations. Accordingly, the literary public sphere became a vital arena for the development and promotion of a new national identity: Britishness. The book starts by examining the political implications of the Scottish Enlightenment's theorization of sympathy, the mechanism by which emotions are shared between people. From these philosophical beginnings, this study tracks how sympathetic discourse is deployed by a variety of authors - including Defoe, Smollett, Johnson, Wordsworth, and Scott - invested in constructing, but also in questioning, an inclusive sense of what it means to be British.

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This book investigates how parks and public space figure in attempts to envision Madrid as the capital of modern Spain. It explores the intersections between a burgeoning economy of consumption and the representation of parks, boulevards, and outlying lands in works by Ramón de Mesonero Romanos, Mariano José de Larra, Armando Palacio Valdés, Emilia Pardo Bazán, Benito Pérez Galdós, and others for whom Madrid's place in 'modern' Europe is critically at issue. To support the close analysis of literary texts, this book draws on the writings of reformers such as Ángel Fernández de los Ríos, Ildefons Cerdá, and Mesonero Romanos himself, as well as journalists, municipal officials, and economists of the time whose works help frame ongoing debates on the city and its nature. Interdisciplinary in approach, Cultivating Madrid argues that gardens and garden imagery trouble the distinction not only between nature and artifice, but also between reality and representation in general, and are thus crucial to understanding realism and the process of modernization in Spain.

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This book explores silence and memory in Germany's ongoing discourse about the Nazi past. It examines the ways in which exile literature and critical thought by Anna Seghers joins postwar discourse and current historical research to formulate an acceptable memory of private life during the Third Reich. Seghers' work is particularly relevant in light of the postwar rift between private and public memory discourse. Her texts The Seventh Cross, "The Excursion of the Dead Girls," and especially her depictions of female figures offer a rare in-depth examination of ordinary life under Hitler. From exile, Seghers reveals hidden voices and personal experience with the Nazi regime that linger in the silenced voids of history. Silence and Acts of Memory reconnects private and public discourse about traumatic events of the Nazi past; the book contributes valuable insights to the current discourse about the continuing formative process of German national identity.

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Taking literally Joanna Baillie's claim that drama can promote social justice, the study explores how plays by Baillie, novels by Walter Scott, and Imaginary Conversations by Walter Savage Landor address problems of capital punishment, poverty, and political participation. Baillie's and Scott's preoccupation with affective responses to criminals and beggars takes on new significance when situated next to nationalist efforts to use legal differences to promulgate an image of Scotland as a more compassionate society than England and when contrasted with Landor's confidence in political claims-making to meet social needs. The study enlists analogies between the 'symbolic interaction' prompted by the selected writers and the concepts of 'symbolic interaction' still evolving from the sociology of Jane Addams, George Herbert Mead, and subsequent practitioners to recover a belief in the social efficacy of literature that was accepted during the pre-disciplinary Romantic era but contested throughout much of the twentieth century. The study advocates the renewal of literary interventionism in our post-disciplinary age.

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Shedding new light on a misunderstood master, this study situates Tobias Smollett (1721-1771) as a key witness to the birth of the modern commercial art market. Focusing on the aesthetic issues of taste, luxury, commercialism, as well as aesthetics itself, William L. Gibson examines Smollett's histories and non-fiction writing as well as his novels to open a panorama on the eighteenth-century art world. Art and Money in the Writings of Tobias Smollett demonstrates how Smollett's articles on fine art for the Critical Review (1756-63) straddle the fence between advertisements and art criticism, and create snapshots of the role periodical publishing played in fostering the commercial art market. Chapters on Peregrine Pickle (1751, revised 1758), Travels Through France and Italy (1766), and The Expedition of Humphrey Clinker (1771) explore Smollett's perspective on the burgeoning art market of the period, the social aspect of art appreciation, and the role of fashionable architecture. Smollett's articles from the Critical Review, never before collated and printed in a scholarly work, are collected in an annotated appendix, while the lavish illustrations to his Complete History of England (1755-58), and its Continuation (1760-65), which underlines the writer's complicity in the for-profit art world of the time, are examined in a second appendix. The Tobias Smollett that emerges in this study is a far cry from the blustering "Smelfungus" portrayed by his fellow novelist Lawrence Sterne. Instead, he is discovered to be sensitive to the major aesthetic issues of his day, and instrumental in the birth of the public art market. Lucidly written and thoroughly researched, Art and Money in the Writings of Tobias Smollett will be of interest to people in literary history and criticism, art history, and social history - whether as scholars, students, or generally educated readers.

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The Farmer's Boy: A Rural Poem by Robert Bloomfield was published on March 1, 1800. It was an immediate success, going through seven editions, and selling twenty-six thousand copies in less than three years. Bloomfield published four additional volumes of poetry: Rural Tales, Ballads and Songs; Wild Flowers: or; Pastoral and Local Poetry; The Banks of Wye; and May-Day with the Muses. His work sold well during the nineteenth century, but over the course of the twentieth century, he became marginalized, unread, and ignored by academic criticism. A renewed interest in Bloomfield has, however, begun to take root over the last few years, driven in part by the continuing reconsideration of the traditional canon of Romanticism. Once again, Bloomfield is beginning to receive the attention that he deserves. This volume of critical essays marks Bloomfield's reemergence as a significant literary figure and will demonstrate his relevance with current reevaluations of Romantic culture. Consisting of fifteen individual chapters, this collection brings together three types of essays: those considering major volumes of poetry by Bloomfield; those essays focusing on particular themes that dominate his corpus of work; and essays examining the significance of Bloomfield in a broader context.

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In this ground-breaking comparative study of Scottish and Irish Romanticism, leading scholars examine literary relations between Scotland, Ireland, and England in the period 1760-1830, an age of political upheaval and constitutional change that witnessed the Irish Rebellion, the Act of Union, major internal migration, and the cultural repositioning of Ireland and Scotland within a newly conceived 'United Kingdom.' Adopting an 'archipelagic' approach, contributors reveal how national and regional factors played a pivotal role in shaping the literary forms and cultural reception of Romantic aesthetics, with the Scottish-Irish binary serving as a ubiquitous point of reference. The essays extend existing work on the national tale and historical novel to identify previously unexplored areas of comparative inquiry such as national song, topical satire and verse romance, national painting, and travel literature. The book offers an exciting new map of the cultural geography of the Romantic era, and establishes a dynamic methodology for future comparative work.

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This study offers the first book-length exploration of travel narratives by nineteenth-century Spanish authors. Focusing on texts produced during a crucial period in the development of Spain's modern consciousness at the close of its imperial age, Scripted Geographies shows how writers' strategies of travel representation reflected and participated in this process of cultural transformation. The first two chapters, devoted to travel within Europe, explore constructions of Spain's sometimes problematic encounter with Western society and traditions. The final chapters shift to orientalist travel, allowing reflection on how Spanish renderings of the non-Western 'other' intersect with patterns found in the better-known corpus of orientalist literature produced in then-ascendant imperial powers like Britain and France. These textual constructions of cultural difference reflect at a profound level their authors' preoccupations and hopes for Spain, as well as their strong awareness of both the powers and dangers inherent in the process of representing 'real world' experience via language.

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Paris has long stood at the center of French social and political life, but its redesign in the middle of the nineteenth century also made it the capital of European modernization. It was the focal point of dramatic cultural change, yet its largest circulating media continued to emphasize the same kind of news it had since the dawn of printing: murder. The most important of France's news genres, for both its immediate popularity and long-term influence, was the canard. The canards were cheap broadsheets and booklets that most often reported sensations, particularly murders. Made by members of the working and lower-middle classes and sold with great success to a vast and diverse audience, the canards deeply influenced and appealed to popular understandings of crime and punishment. Despite their importance in their day and their value to cultural studies, historians have paid them scant attention. In Murder in Parisian Streets Thomas Cragin provides an in-depth study of the production, sale, and content of the canards. He demonstrates their significance to nineteenth-century culture, even their role in determining the emerging tabloid's success. Cragin explores the incremental creation of textual meaning in the canards authorship, production, distribution, and consumption. He exposes the power of oral traditions as well as modern marketing at work upon this popular news literature. The canards challenge our assumptions about the nineteenth century's revolution in print and reorient our understanding of cultural creation through textual construction.

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Fortunata y Jacinta is the magnum opus of Benito Pérez Galdós, acknowledged in the field of Spanish letters as second only in importance to Cervantes. This study is an analysis of the different parts of the manuscript as "palimpsest," or layering of texts from the early manuscript drafts of the work to its printed edition, produced in successive stages to create a better version than the last. The analysis seeks to lay bare important aspects of the creative process of composition in the astounding cultural phenomenon that is the nineteenth-century realist novel, assessing in what ways any changes from earlier to later drafts may provide an understanding of the genius of creation in this particular literary form.

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This book argues that George Meredith as a writer of Victorian fiction is most critical for us today because of the ways in which he wrote against convention. The focus is on 'An Essay on Comedy' and six novels - 'The Ordeal of Richard Feverel,' 'The Adventures of Harry Richmond,' 'The Egoist,' 'One of Our Conquerors,' 'Lord Ormont and His Aminta,' and 'The Amazing Marriage' - all of which illuminate the experimental and transgressive impulse in Meredith, as seen in his treatment of controversial contemporary themes, in his departures from conventions of genre, and in his innovations with narrative technique and the representation of consciousness. These are novels that had a profoundly stimulating effect on many of those canonical writers we now associate with the first wave of modernism in the English novel. James, and then Woolf, Forster, Lawrence, Conrad, Ford, and Joyce, to varying degrees, all saw Meredith as an influence to be reckoned with in their own novelistic experimentation - an influence, this book proposes, essential to understanding the modernist translation of nineteenth-century realism into new formal, thematic, and psychological realms.

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In The Taste of the Town: Shakespearian Comedy and the Early Eighteenth-Century Theater, Katherine West Scheil considers the reception history of Shakespeare's comedies within the context of the Restoration and early eighteenth-century theater, from 1660 until the Licensing Act of 1737. In the absence of an overarching methodology about how to stage and interpret Shakespeare, playwrights of the period were motivated by popular taste, and adapted and appropriated Shakespearian comedy according to current theatrical and cultural trends. Scheil discusses how the popularity of music and dance, poiltical controversies, the fluidity of acting companies, the influence of print culture, a recently edited play, a popular comic actor, a new musical composer, or a novel way of constructing a scene affected the rendition of Shakespeare's comedies to appeal to the taste of town. Thoroughly researched and carefully argued, The Taste of the Town, is a valuable and timely contribution to the understanding of the culture and practice of the Restoration and early eighteenth-century theater; as well as to the history of Shakespeare's early reputation.

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And in Our Time brings together essays which, in diverse ways, not only revise existing views on thirties writing, but also provide ways of accounting for its critical neglect. The essays examine, from a variety of theoretical and critical perspectives, a body of work that reflects the true diversity of the literary and cultural contexts of the thirties, and includes studies of the of the work of Louis MacNeice, Frank Sheed, Christopher Dawson, Alick West, Christopher Caudwell, Stevie Smith, Storm Jameson, Phyllis Bottome, Ivy Compton-Burnett, Graham Greene, Eric Ambler, George Orwell, Christina Stead, Randall Swingler, and Ralph Fox.

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This book is about the Renaissance revitalization of classical drama. Using a cultural and a theatrical approach, it shows how Italian playwrights made ancient tragedy relevant to their audiences. The book challenges the traditional critical approach to the Italian Renaissance tragedy as a mere literary work, and calls attention to the complementary function of the theatrical text, which is OOreconstructedOO from the stage directions embedded in the discourse of the characters.

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The subject of this book-an Italian-born exiled Prince-has become an icon of misjudged romanticism and Scottish nationalism; much of this is due to the way he has been portrayed over the years. This study traces how the enduring visual image of Prince Charles Edward Stuart was created, beginning with his birth in 1720 and ending with the exhibition of John Pettie's Prince Charles Edward Stuart Entering the Ballroom at Holyrood - probably still the most enduring and popular image of the Stuart prince-at the Royal Academy in 1892. This book considers the role of portraiture in the Stuart court, both before and after exile in 1688 and how the well-established traditions of royal portraiture and image-making were used by the Stuart dynasty to promote their ambitions and stature. Charles's birth in 1720 resulted in a flurry of portrait commissions in which he was depicted as the royal heir apparent. The messianic role with which he was invested reached its apotheosis with the Jacobite uprising of 1745. He adopted the costume and manners of an idealized Highland chieftain and within the space of a few months created an abiding iconography which was to endure long after his death. The major portraits of Charles executed during his lifetime are considered, from the early court portraits of Antonio David and Domenico Dupra to the final images of a broken man by Ozias Humphrey and Hugh Douglas Hamilton. Alongside this, there is a thorough examination of a parallel phenomenon in which works of art, observing established parameters, were copied and adapted, and then re-copied, until the tartan-clad ideal of 1745 began to eclipse the real person. The revering of Charles Edward and the manufacture of items bearing his likeness are compared to other "cults" of the individual and contrasted with the "commercialization of politics" which several commentators have identified as a coherent phenomenon of late eighteenth-century British life. The extent to which the material culture that surrounded the persona of Char

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The Arrow of Love examines visual encounters in medieval lyrics, exploring the ways in which poets employed contemporary optical theory both to revitalize classic topoi, such as Cupid's arrow, and to construct and develop subjectivities and gender roles. In the unconfessed or unrequited love that is so frequently the focus of medieval lyrics, an exchange of glances is often the primary contact between the lover and the beloved. As medieval poets sought new ways to describe visual interactions, many turned to the rapidly growing field of optical theory, which offered not only an array of images and metaphors but also models for the perceiving subject that could be adapted to poetic use. In particular, optical imagery and paradigms afforded poets a new approach to the roles of the languishing male and his powerful beloved. Issues such as the relationship between the eyes and the heart, the power of the beloved's glance, and the image of the beloved cherished by the lover in his heart have received attention from love poets since Classical Antiquity; this book shows how such themes are reinterpreted in medieval poetry in terms of contemporary advancements in the science of optics. In addition, many medieval poets wrote of light, rays, or spirits exiting from and/or entering the yees of lyric lovers and their ladies; this study provides parallel accounts of these phenomena in contemporary works on optics and natural magic, and discusses the extent to which poets drew upon these non-literary descriptions. Optical material did not merely server to make poetry more technically detailed; frequently, it was employed to develop subjectivity and to portray power relations between the poet-lover and his beloved. For example, in some medieval optical treatises, vision is portrayed as an outwardly directed or even aggressive action; in others, it is described as a sort of painful intrusion upon the eye. This study explores how poets appropriate one or, in some cases, both of these models, often utilizing techni

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While the Music Lasts posits that musical references in literary texts present two significant problems: first, how does the author recreate music or musical experiences? Second, what do these musical allusions say about the culture the author is describing and, of course, about the author her- or himself? Apart from displaying an acute awareness of music—baroque and romantic music; creation and performance; aesthetics and politics—the musical references Sand uses allow for commentary on contemporary politics and social reform and provide a wide range of material for a musico-literary study.

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Monstrous Dreams of Reason explores one of the most enduring and intriguing paradoxes of the British Enlightenment: how reason gives rise to both the beneficial and the monstrous. This collection of twelve previously unpublished essays explores the conflicts sparked by the extraordinary range of new ideas and material possibilities in the eighteenth-century British Empire, reading the Enlightenment less as a set of axioms than as a variety of cultural and ideological formations. The essays demonstrate how profoundly eighteenth-century formulations of gender, race, class, and sexuality have, through their challenges to a less empirical, rational, and universalizing past, set the terms for debates in the centuries that followed. They explore a wide range of texts, from Georgic poetry to crime stories, from illness narratives to travel journals, from theatrical performances to medical discourse, and from political treatises to the novel. Exemplifying different methodologies and theoretical perspectives, yet addressing a nexus of important cultural and critical issues, Monstrous Dreams of Reason makes a telling and exciting intervention in the ongoing debate about the Enlightenment's identity as a history of the present, and as a crucial moment presaging the modern and the postmodern condition.

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William Faulkner wrote no ‘‘defense’’ of his art, but he discoursed extensively on narrative language and form in interviews, dialogues, letters, and other nonfiction materials. On close study, these seemingly incoherent materials yield a set of congruent ideas founded on Faulkner’s view of language, a potent but duplicitous medium that word-translating form must overcome. The emergence of Faulkner’s theory of language and narrative casts new light on the nature and significance of his thought and art.

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These essays express a common belief that the study of Romantic literature must be at once professionally serious and personally engaging. Topics discussed range from Wordsworth to Lady Caroline Lamb, and from Blake and Burke to the contemporary Irish poet Paul Muldoon. Each essay also offers close readings of essential works on English and Irish Romanticism. Introducing the collection is a tribute by the celebrated Romanticist Peter Manning.

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In Interculturalism and Resistance in the London Theater, Mita Choudhury argues that the eighteenth-century British theater is a dynamic expression and register of the anxieties and tensions of a culture poised for global supremacy. By strategic consideration of political and intellectual alliances that the theater inspired and stifled, and through discussions of a wide cross-section of performance practices from the time of Dryden to that of Inchbald, Choudhury demonstrates the power of performativity in a culture of ascendancy. She argues that nationalism, as both active movement and contemplative ideology, cannot be separated from the themes of expansionism that propel the many incentives, principles, and sites of performance. In an original contribution to criticism, Interculturalism and Resistance demonstrates the eighteenth-century theatrical culture's ambivalence toward what has recently been described as the "exoticism of multiculturalism."

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AlarcónOs OOThe NunOO has been praised as a stark depiction of decadence and decline, Captain Poison as a humorous reversal of The Taming of the Shrew, OOMoors and ChristiansOO as an astute commentary on greed, and OOThe Tall WomanOO as an absorbing tale of the fantastic and supernatural. Together the four works show that AlarcónOs imagination in short prose fiction thrived at the middle of his writing career and at the end of it.

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Mário de Andrade is an international reference on the Brazilian modernist movement that began in 1922. This is the first English language critical assessment of this Brazilian writerOs poetry, novels, and short stories, all of which are examined within the development and framework of Brazilian Modernism.

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This study demonstrates how popular women writers used the female visual artist as their alter ego to renegotiate the boundaries between high and low culture. The figure of the professional woman painter allowed women writers to critique the dominant aesthetic and scientific theories that categorized women and an ethnically configured lower class as artistically and intellectually inferior to an elite, male-defined figure of the Romantic artist-as-genius. Illustrated.

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This book offers a study of four works of Peruvian theater: Tragedy of Atahualpa’s Death and Usca Paucar, informed by Quechua tradition, and Amar su propia muerte and La conquista del Perú, written in Spanish. It underscores the importance of dramatic literature during the colonial period and advances our understanding of the many ways in which cultural conflict is viewed and performed in a heterogeneous society. Illustrated.

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This early novel of Emilia Pardo Bazán is her most Naturalistic work in the manner of the French movement, and is also her most outspoken statement of her feminist point of view.

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This collection of essays attempts to describe, analyze, and interpret the literary events and practices that characterize the last two OOpostrevolutionaryOO decades of Portuguese political and cultural life.

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Were the strength of a literary work measured by its impact on the reader, Corinne, or Italy would qualify as one among the most effective of texts, to judge by the intensity of the responses it has produced. Positing feminine transcendence through art as a counterdiscourse to the militaristic expansionism of Napoleon, the novel was acclaimed as a revolutionary act at the time of its first publication. Despite the hostility of patriarchal criticism that targeted the novel's literary value, Corinne was published in more than forty editions between 1807 and 1872. More recently, it has given rise to a fresh series of interpretations in the context of women's studies. The Novel's Seductions: Staël's Corinne in Critical Inquiry not only documents an extraordinary revival of interest in this work demonstrated by American academia, but provides teachers of literature as well as students with an introduction to the novel's problematics and to bibliographical sources. From essays written by both internationally known Staëlians and younger scholars, the novel emerges as an ongoing communicative act, inviting a new generation of readers to reflect on the feminine condition. In order to capture the performative energy of Corinne as well as to indicate the directions in which Staël studies are evolving, the volume explores the transactional qualities of Staël's writing from various methodological and thematic perspectives.

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Situated at an intersection of feminist critical practice in the United States and feminist cultural theory in France, this book is an investigation of the way in which SarrauteOs first eight works problematize certain feminist literary analyses, especially in relation to lOécriture féminine.

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The transformation of the American sense of religious identity and destiny that occurred toward the end of the nineteenth century and the beginning of the twentieth is illustrated through a literary and cultural analysis of the fiction of Willa Cather and Theodore Dreiser.

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An important contribution to the still evolving field of 'urban cultural studies,' Henri Lefebvre and the Spanish Urban Experience is the first book to thoroughly apply the French urban philosopher's thoughts on cities to the culture and literature of Spain. Fraser shows how Lefebvre's complex view of the city as a mobile phenomenon is relevant to understanding a variety of Spanish cultural products—from urban plans and short writings on the urban experience during the nineteenth century by Mariano José de Larra, Ramón de Mesonero Ramanos, and Ildefons Cerdà to urban theories, cultural practices and literary fiction of the twentieth by Luis Martín-Santos, Juan José Millás, Juan Goytisolo, and Manuel Delgado Ruiz. He pushes on to interrogate even the appearance of Mediterranean space and Barcelona in recent video games. Working through the direct and indirect resonance of the French philosopher's legacy in Spain, a comprehensive first chapter grounds the reader in the key concepts of Lefebvre's urban theory that are explored throughout the book—his critiques of static space, modern urban planning, knowledge, alienation in everyday life and his emphasis on a method that underscores the importance of movement and rhythm. Fraser compellingly shows how each of these aspects of Lefebvre's work relates to the others, just as he ties together canonical and non-traditional cultural products from Madrid and Barcelona.

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Post-Closet Masculinities in Early Modern England argues for a theory of male subjectivity that subordinates questions of desire beneath the historical imperatives that inform those desires. Employing a post-closet identity theory, this book argues that writers like John Donne, William Shakespeare, and George Herbert created an ideology of masculinity in conjunction with and in response to the great epistemological upheavals in early modern England. Donne, Shakespeare, and Herbert helped to create a masculinity that embodies an ironic subject position that is constantly shifting between men's desires for women and men's simultaneous rejection of women's bodies, and the inevitable encounter with the figure of the sodomite that their rejection invites.

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Why were Scottish writers able to dominate the field of periodical literature throughout the nineteenth-century? Barton Swaim's Scottish Men of Letters and the New Public Sphere, 1802-1834 attempts an answer to that question by examining the period when the Scots' dominance was at its height: the three decades after the founding of the Edinburgh Review in 1802. In this carefully researched and thoughtful study, Swaim discusses the ways in which four writers in the vanguard of Scottish periodical-writing—Francis Jeffrey, John Wilson, John Gibson Lockhart, and Thomas Carlyle—exemplify the historical and cultural dynamics that occasioned Scottish dominance of what Jürgen Habermas would later call the public sphere.

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Revolutionary Subjects in the English "Jacobin" Novel engages ongoing debates on subject formation and rights discourse through the so-called "English Jacobin" novels. Ostensibly celebrating the universal rights-bearing subject, these political novels inadvertently also questioned the limitations of such universal conceptions. Including works by both men and women, and those normatively identified as radical alongside others considered more conservative or even "anti-Jacobin," this work examines the shared efforts to represent developing political consciousness and to inculcate such consciousness in readers across a reformist continuum. These novels' efforts to expand the citizen-subject threatened to reveal the cost implicit in accessing subjectivity on universal terms. Wallace argues that subversive narrative strategies in fiction, including William Godwin's Things as They Are (1794), Robert Bage's Hermsprong (1796), and Amelie Opie's Adeline Mowbray (1805), undercut and question the sovereign subject modeled as the ideal republican radical subject and describe a discourse that is not always in line with the work's overt "moral." If the concept of human rights appears both necessary and inadequate in 2009, it was likewise problematic in the revolutionary 1790s.

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This is the first book in the English language devoted to an analysis of the work ofthe Mozambican author Mia Couto. The book provides essential background details about Mozambican political and cultural history.

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Tobias Smollett (1721-71) is best known today as a novelist whereas in the eighteenth century he was primarily regarded as a historian and critic. In Tobias Smollett in the Enlightenment, Richard J. Jones explores the diversity of Smollett's journalistic and literary writings and establishes new connections between Smollett's work and writers of the Scottish Enlightenment. Taking as his focal point Smollett's visit to Nice, between 1763 and 1765, and the account he wrote of it in Travels through France and Italy (1766), Jones argues that Smollett's account should be read as a "pocket encyclopedia" in the tradition of Voltaire, rather than as a conventional "travel narrative." Discussing Smollett's engagement with medicine, fine art, the theater and history, Jones offers a productive juxtaposition of authors, texts and contexts, presenting Smollett as a writer whose Scottish (and particularly Glaswegian) identity informed his involvement in a wider European Enlightenment.

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In looking closely at Horace Walpole's Correspondence, George E. Haggerty shows how these letters, when taken in aggregate, offer an astonishingly vivid account of the vagaries of eighteenth-century masculinity. Walpole talks about himself obsessively: his wants, his needs, his desires; his physical and mental pain; his artistic appreciation and his critical responses. It is impossible to read these letters and not come away with a vivid impression of a complex personality from another age. Haggerty examines the ways in which Walpole presents himself as an eighteenth-century gentleman, and considers his personal relationships, his needs and aspirations, his emotionalism and his rationality—in short, his construction of himself—in order to see what it tells us about the age in general and more specifically, about masculinity in an era of social flux. This study of Walpole and his epistolary relations offers a unique window into both the history of masculinity in the eighteenth century and the codification of friendship as the preeminent value in western culture. Recent studies have tried to rewrite Walpole in a twenty-first century mold while this work looks at the writer and the ways in which he constructs himself and his relations, not in hopes of uncovering a lurid secret, but rather in pursuit of the figure that he created and that has fascinated generations of readers and writers since the eighteenth century.

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Modernity's Metonyms considers the representation of temporal frameworks in stories by the nineteenth-century Spanish authors, Leopoldo Alas and Antonio Ros de Olano. Adopting a metonymic approach—exploring the reiteration of specific associations across a range of disciplines, from literature, philosophy, historiography, to natural history—Modernity's Metonyms moves beyond the consideration of nineteenth-century Spanish literary modernity in terms of the problem of representation. Through an exploration of the associations prompted by three themes, the railway, food, and suicide, it argues that literary modernity can be considered as the expression of the perception that a linear model of time bringing together the past, the present and the future, was fragmenting into a proliferation of simultaneous moments. It draws French, German, American and British writers into discussion of stories by the canonical author Alas, and Ros de Olano, an author who is receiving increasing attention from scholars of nineteenth-century Spanish literature. Recent scholarship in the field of nineteenth-century Spanish literature and culture has challenged the thesis of "retraso," the thesis that Spain lagged far behind its European neighbors. Building on this scholarship, this monograph incorporates shorter works of experimental prose fiction into discussions of nineteenth-century literary modernity in Spain. It further expands the field by combining analysis of the writing of the canonical author, Leopoldo Alas with stories by Antonio Ros de Olano, whose work has been receiving increasing attention from scholars in the field. Rather than thinking of these works in terms of the ways they conform to established models provided by either contemporaneous French and British works, or by fin de siglo and early twentieth-century Spanish literature, Modernity's Metonyms works inductively.

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This book on the role of written and iconographic communication in the Atlantic World combines a broad outlook, geographically and chronologically, with the precise treatment of specific evidence extracted from the sources. The author argues that diatribes against chivalric fiction and the Index of Prohibited Books did not prevent proscribed literature from circulating freely on both sides of the Atlantic. On the contrary, he notes, such prohibitions may have increased the lure of certain books. A description of the process of registering and inspecting ships in Seville and upon reaching their destinations highlights opportunities for contraband, smuggling, fraud, and the corruption of officials entrusted with regulating the trade. Within the prominent spiritual genre, the author documents a shift from Erasmian to Tridentine thinking. The registers analyzed also suggest the growing popularity of literary works by Cervantes, Mateo Alemán, and Lope de Vega. It opens a fascinating window onto the book trade in the Americas. Different forms of participation in this culture included the use of books as fetishes and the possession of printed devotional images. The analysis of books as well as printed images supports larger contentions about their role as agents of evangelization and westernization. This book certainly opens up new worlds on the impact of books and images in the Atlantic World.

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Mina Loy—poet, artist, exile, and luminary—was a prominent and admired figure in the art and literary circles of Paris, Florence, and New York in the early years of the twentieth century. But over time, she gradually receded from public consciousness and her poetry went out of print. As part of the movement to introduce the work of this cryptic poet to modern audiences, Poetic Salvage: Reading Mina Loy provides new and detailed explications of Loy’s most redolent poems. This book helps readers gain a better understanding of the body of Loy’s work as a whole by offering compelling close readings that uncover the source materials that inspired Loy’s poetry, including modern artwork, Baedeker travel guides, and even long-forgotten cultural venues. Helpfully keyed to the contents of Loy’s Lost Lunar Baedeker, edited by Roger Conover, this book is an essential aid for new readers and scholars alike. Mina Loy forged a legacy worthy of serious consideration—through a practice best understood as salvage work, of reclaiming what has been so long obscured. Poetic Salvage: Reading Mina Loy dives deep to bring hidden treasures to the surface.

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A stylish critique of literary attitudes towards painting, Textual Vision explores the simultaneous rhetorical formation and empirical fragmentation of visual reading in enlightenment Britain. Beginning with an engaging treatment of Pope's Rape of the Lock, Timothy Erwin takes the reader on a guided tour of the pointed allusion, apt illustration, or the subtle appeal to the mind's eye within a wide array of genres and texts, before bringing his linked case studies to a surprising close with the fiction of Jane Austen. At once carefully researched, theoretically informed and highly imaginative, Textual Vision situates textual vision at the cultural crossroads of ancient pictura-poesis doctrine and modernist aesthetics. It provides reliable interpretive poles for reading enlightenment imagery, offers vivid new readings of familiar works, and promises to invigorate the study of Restoration and eighteenth-century visual culture.

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This volume gathers together translations of the best works from all six of the extraordinary extant collections by Lemko-Ukrainian poet Bohdan Ihor Antonych: A Greeting to Life (1931), The Grand Harmony (1932-33), Three Rings (1934), The Book of the Lion (1936), The Green Gospel (1938), and Rotations (1938), as well as poetry published separately. It includes a translator's note and a biographical sketch on the poet by Michael M. Naydan and a comprehensive introduction by Dr. Lidia Stefanowska, one of the world's leading experts on Antonych's poetry. While Antonych is not a household name in the discourse on Modernism that includes such great Slavic poets as Mandelstam, Pasternak, and Milosz, as well as their Western European counterparts Eliot, Rilke, and Lorca, in the opinion of many literary critics, he unquestionably should be. Critics have also compared him to Walt Whitman and Dylan Thomas. Only a small amount of Antonych's works has been available in English to date. In 1977 émigré Ukrainian poet Bohdan Boychuk with the American poets Mark Rudman and Paul Nemser translated and published a small, but well-received, book of Antonych's selected poems, A Square of Angels. The current edition of ninety-six poems complements that earlier volume with nearly two-thirds of the translations appearing in English for the first time and honors Antonych on the hundred-year anniversary of his birth.

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This monograph explores how seven prominent German and Austrian novelists of the twentieth century—Franz Kafka, Thomas Mann, Anna Seghers, Uwe Johnson, Ingeborg Bachmann, Wolfgang Hilbig, and Marlene Steeruwitz—conveyed their literary figures' time spent waiting. By presenting states of waiting as emblematic of human existence in the turbulent twentieth century, these writers criticized hierarchical power structures in various historical contexts. Killing Time presents fresh readings of seven German-language novels, while providing insights into how and why German and Austrian writers repeatedly turned to the waiting motif to expose the injustices inherent in interpersonal, political, and social hierarchies. In investigating the treatment of waiting in literary texts, William reexamines how prominent philosophers of metaphor and time influenced German and Austrian writers of the past century. This study is underpinned in part by the work of cultural and social theorists who have emphasized how the liminal status of the subjugated within social hierarchies ensures that they are kept perpetually waiting.

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