This book proposes a new way of tracing the history of the Early Modern Spanish novel through the prism of literary continuation. It identifies and examines the Golden Age narratives that invented the sequel and the narrative genres that the sequel in turn invented. This book proposes a new way of tracing the history of the Early Modern Spanish novel through the prism of literary continuation. It identifies and examines the Golden Age narratives that invented the sequel and the narrative genres that the sequel in turn invented. The author explores the rivalries between apocryphal and authorized sequelists that forged modern notions of authorship and authorial property. The book also defines the sequel's forms and functions, filling a major gap in literary theory in general and Peninsular literary studies in particular. Notably, the author demonstrates that the sequel develops first and foremost in Early Modern Spain, an unacknowledged and unexamined contribution to Western letters. With its panoramic scope, this study serves as an introduction to the central novelistic genres and texts of Early Modern Spain. From this foundational starting point, it alsooffers a general framework for understanding imaginative expansion in subsequent time periods and literary traditions. William H. Hinrichs is a founding faculty member and Assistant Professor of Modern Languages at Bard High School Early College, Queens.

This ground-breaking collection explores the assumptions behind and practices for performance implicit in the manuscripts and playtexts of the medieval and early modern eras, focusing on work which engages with performance-oriented research.

In the early eighteenth century, the household accountant was traditionally female. However, just as women were seen as financial accountants, they were also deeply associated with the literary and narrative accounting inherent in letters and diaries. These are examined alongside property, originality and the development of the early novel.

Shakespeare's Sublime Pathos: Person, Audience, Language breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare's Sublime Ethos. To do so, it examines Shakespeare's model of mutualistic character, in which "entangled" language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare's liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright's sublime effects. As the argument develops, the Shakespearean sublime emerges as an emotional state of vulnerable exhilaration leading to an ethically uplifting openness towards others and an epistemologically bracing awareness of human unknowability. Taken together, Shakespeare's Sublime Pathos and Shakespeare's Sublime Ethos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.

As cultural practice, the early modern duel both indicated and shaped the gender assumptions of wealthy young men; it served, in fact, as a nexus for different, often competing, notions of masculinity. As Jennifer Low illustrates by examining the aggression inherent in single combat, masculinity could be understood in spatial terms, social terms, or developmental terms. Low considers each category, developing a corrective to recent analyses of gender in early modern culture by scrutinizing the relationship between social rank and the understanding of masculinity. Reading a variety of documents, including fencing manuals and anti-dueling tracts as well as plays by Shakespeare, Jonson, Middleton, and other dramatists, she demonstrates the interaction between the duel as practice, as stage-device, and as locus of early modern cultural debate.

William Blake and the Daughters of Albion offers a challenge to the Blake establishment. By placing some of Blake's early prophetic works in startlingly new historical contexts (most provocatively those of female conduct and pornography) a very different image of the radical Blake emerges. The book shows what can be achieved when a challenging methodology, feminist historicism, is brought to bear on a canonical writer and on now canonized interpretations of his work.

Why are there so few 'happily ever afters' in the Romantic-period verse romance? Why do so many poets utilise the romance and its parts to such devastating effect? Why is gender so often the first victim? The Romantic Paradox investigates the prevalence of death in the poetic romances of the Della Cruscans, Coleridge, Keats, Mary Robinson, Felicia Hemans, Letitia Landon, and Byron, and posits that understanding the romance and its violent tendencies is vital to understanding Romanticism itself.

The Making of the Modern Child explores how the concept of childhood in the Victorian era was constructed through the ideological work performed by children's literature, as well as pedagogical writing and medical literature of the era. The author ties the evolution of the idea of 'the child' to the growth of the middle class, which used the figure of 'the child' as a symbol in its various calls for social reform.

This innovative collection brings together a group of leading theatre historians to identify and exemplify a variety of productive new approaches to the investigation of plays, players, playwrights, playhouses and other aspects of theatre in the long eighteenth century. Their inquiries are multi-faceted, ranging from stage censorship and anti-theatricalism to the investigation of playhouse finances, from the performance representation of Othello and Oroonoko to the political resonances of adultery comedy, and from Garrick's vocal art to the interpretation of contemporary paintings of actors and actresses.

Mind, Body, Motion, Matter investigates the relationship between the eighteenth century's two predominant approaches to the natural world - mechanistic materialism and vitalism - in the works of leading British and French writers such as Daniel Defoe, William Hogarth, Laurence Sterne, the third Earl of Shaftesbury and Denis Diderot. Focusing on embodied experience and the materialization of thought in poetry, novels, art, and religion, the literary scholars in this collection offer new and intriguing readings of these canonical authors. Informed by contemporary currents such as new materialism, cognitive studies, media theory, and post-secularism, their essays demonstrate the volatility of the core ideas opened up by materialism and the possibilities of an aesthetic vitalism of form.

A Year of Shakespeare gives a uniquely expert and exciting overview of the largest Shakespeare celebration the world has ever known: the World Shakespeare Festival 2012. This is the only book to describe and analyse each of the Festival's 73 productions in well-informed,lively reviews by eminent and up-and-coming scholars and critics from the UK and around the world. A rich resource of critical interest to all students, scholars and lovers of Shakespeare, the book also captures the excitement of this extraordinary event. A Year of Shakespeare provides: * a ground-breaking collection of Shakespearean reviews, covering all of the Festival's productions; * a dynamic visual record through a wide range of production photographs; * incisive analysis of the Festival's significance in the wider context of the Cultural Olympiad 2012. All the world really is a stage, and it's time for curtain-up...

The appearance in 1609 of Shakespeare's Sonnets is cloaked in mystery and controversy, while the poems themselves are masterpieces of silence and deception. The intervening four centuries have done little to diminish either their mystique or their appeal, and recent years have witnessed an upsurge in interest in these brilliant and contentious lyrics. John Blades' penetrating study of the Sonnets is a highly lucid introduction to Shakespeare's subjects and poetic craft, involving detailed insights on the major themes, together with a comprehensive exploration of the Rival Poet and Dark Mistress sequences. Shakespeare: The Sonnets: - draws on an extensive range of sonnets, offering a line-by-line analysis that engages with the poems as masterworks in their own right, as well as registering their relationship with Shakespeare's dramas - locates the Sonnets in their Elizabethan and humanist framework, with a survey of the history of the sonnet form and rhetorical conventions within the context of the early modern period - concludes with a brief assessment of critical attitudes towards the Sonnets over the four centuries since their publication and an indepth examination of four important critics. Providing students with the critical and analytical skills with which to approach the Sonnets, and featuring a helpful glossary and suggestions for further study, this fascinating book is an indispensable guide.

Contents:
THE EARLY YEARS

Barker, Arthur. 'Milton's Schoolmasters.' Modern Language Review 32 (1937).

Miller, Leo. 'Milton's Clash with Chappell: A Suggested Reconstruction.' Milton Quarterly 14 (1980).

Hale, John K. 'Milton Plays the Fool: The Christ's College Salting 1628.' Classical and Modern Literature 20 (2000).

Rumrich, John. 'The Erotic Milton.' Texas Studies in Language and Literature 41 (1999).

Hill, John Spencer. 'Poet-Priest: Vocational Tension in Milton's Early Development.' Milton Studies 8 (1975).

Hanford, James Holly. 'Milton in Italy.' Annuale Mediaevale 5 (1964).

Friedman, Donald. 'Galileo and the Art of Seeing.' In Milton in Italy: Contexts, Images, Contradiction, edited by Mario A. Di Cesare (Binghamton, NY: Medieval and Renaissance Texts and Studies, 1991).

THE MATURE YEARS

Miller, Leo. 'John Milton's 'Lost' Sonnet to Mary Powell.' Milton Quarterly 25 (1990).

Sirluck, Ernest. 'Milton's Idle Right Hand.' Journal of English and German Philology 60 (1961).

Corns, Thomas. 'Milton's Quest for Respectability.' Modern Language Research 77 (1982).

Woolrych, Austin. 'Milton and Cromwell: 'A Short but Scandalous Night of Interruption'.' In Achievements of the Left Hand, edited by Michael Lieb and John T. Shawcross (Amherst: University of Massachusetts Press, 1974).

Hughes, Merritt Y. 'Milton as a Revolutionary.' English Literary History 10 (1943).

Hunter, William B. 'Some Speculations on the Nature of Milton's Blindness.' Journal of the History of Medicine 17 (1962).

Baruch, Franklin R. 'Milton's Blindness: The Conscious and Unconscious Patterns of Autobiography.' English Literary History 42 (1975).

Davies, Godfrey. 'Milton in 1660.' Huntington Library Quarterly 18 (1955).

Kermode, Frank. 'Milton in Old Age.' Southern Review 11 (1975).

MILTON'S LITERARY AFTERLIFE

Frank, Marcia. 'Staging Criticism, Staging Milton: John Dryden's The State of Innocence.' The Eighteenth Century 34 (1993).

Bostich, June. 'Miltonic Influence in 'The Rape of the Lock'.' Enlightenment Essays 4 (1973).

Wittreich, Joseph A. 'The Illustrious Dead: Milton's Legacy and Romantic Prophecy.' Milton and the Romantics 4 (1980).

Grundy, Joan. 'Hardy and Milton.' Thomas Hardy Annual 3 (1985).

Jenkins, Hugh. 'Jefferson (Re)Reading Milton.' Milton Quarterly 32 (1998).

Herron, Carolivia. 'Milton and Afro-American Literature.' In Re-Membering Milton, edited by Mary Nyquist and Margaret Ferguson (New York: Methuen, 1987).

Drawing on the extraordinary wealth of scholarly and critical material on John Milton's life, works and influence, this collection of reprinted articles brings together the most illuminating scholarship that has been written about Milton in the last hundred years.
Volume three deals with the great polemical tracts that Milton composed during the Puritan Commonwealth on the liberty of the church, the liberty of the state, the liberty of the press and the liberty of the individual.
Each volume contains articles exemplifying a wide range of critical approaches and scholarly methods offering the reader not only a broad introduction to one of England's greatest poets but also a vade mecum to the incredible diversity of literary critical activity that has characterized the field of Milton studies over the past century.

Drawing on the extraordinary wealth of scholarly and critical material on John Milton's life, works and influence, this collection of reprinted articles brings together the most illuminating scholarship that has been written about Milton in the last hundred years.
Volume five addresses some of the crucial issues in Milton's last two poems, published together in 1671.
Each volume contains articles exemplifying a wide range of critical approaches and scholarly methods offering the reader not only a broad introduction to one of England's greatest poets but also a vade mecum to the incredible diversity of literary critical activity that has characterized the field of Milton studies over the past century.

There are many 'Shakespeares', argue the contributors to this, the second volume of Alternative Shakespeares and the different versions emerge in a wide variety of cultural contexts: race, gender, sexuality and politics amongst others. Alternative Shakespeares: Volume 2 consists of entirely new essays by some of the world's leading Shakespearean critics. The topics covered include: Sexuality and Gender, Language and Power, Textualilty and Printing, Race and Shakespeare's Britain, New Historicist Criticism and the 'Gaze' of the Audience. In abandoning the search for any final and definitive 'meaning' in any of Shakepeare's plays, the contributors to Alternative Shakespeares: Volume 2 present an exciting and ultimately liberating challeneg to Shakespeare studies.

British Abolitionism and the Rhetoric of Sensibility argues that participants in the late eighteenth-century slavery debate developed a distinct sentimental rhetoric, using the language of the heart to powerful effect in the most important political and humanitarian battle of the time. Examining both familiar and unfamiliar texts, including poetry, novels, journalism, and political writing, Carey shows that salve-owners and abolitionists alike made strategic use of the rhetoric of sensibility in the hope of influencing a reading public thoroughly immersed in the 'cult of feeling'.

Casting aside critical shibboleths in place for centuries, Kenneth Craven's Jonathan Swift and the Millennium of Madness proposes a new view of intellectual history. This revisionary study documents Swift's intimate knowledge of seventeenth-century science from Bacon and the Invisible College at Oxford to the Newtonian synthesis within the context of Paracelsian medicine and the chemical-mechanical split. Craven shows that Swift joins the philosophies of a neoplatonic divine order, Epicurean atomism, the Reformation, and scientific millenarianism as permeating his time with millennial myths sure eventually to detonate the sense of composure of individuals and societies. In contradistinction, Swift elucidates links between the humors traditions in medicine and literature, saturnine melancholy and the dreaming god Kronos. He proposes the somber realism of the Kronos myth as providing awareness of the self-imposed restraints on ego needed to preclude the proliferation of modern information systems into trivialization of the human enterprise to meaninglessness. This fresh and exhaustive examination of the Anglo-Irish writer's first masterpiece, A Tale of a Tub (1704) unlocks barriers to seeing the nature of Swift's complex integrity, passion, and literary achievements throughout a career studded with disappointments. Specifically, this study authoritatively reveals the identity of unnamed victims of Swift's satire as the deist John Toland and his republican hero, John Milton, for their advocacy of the Puritan Revolution and regicide; Toland's mentor John Locke and another Lockean disciple, Lord Shaftesbury, who confused happiness and self-interest with delusion and the public weal; and his tormentors in the Church of Ireland, Narcissus Marsh and Peter Browne.

In this first study of the role of scepticism in literature, Fred Parker offers a lively and stimulating introduction to key issues in eighteenth-century literature and philosophy. Parker traces the presence of sceptical thinking in works by Pope, Hume, Sterne, and Johnson, relates it more broadly to the social self-consciousness of eighteenth-century culture, and discusses its source in Locke and its inspiration in Montaigne.

Product Note:
Volume 4 of the 5 volume facsimile collection Key Writings on Subcultures, 1535-1727: Classics from the Underworld [0-415-28675-1]

When it first appeared, The English Rogue was declared a forbidden book on account of its gross indecency. Copies were printed secretly and sold furtively at alehouses until 1665 when it was properly licensed. When requested, the author, Richard Head, declined to produce a second volume as it was his belief that the text had been interpreted as autobiographical and his reputation had suffered as a consequence. Francis Kirkman, who had acquired the rights to the work, set about the endeavour himself and wrote the remaining volumes, publishing them in 1671.
This is a reprint of the 1928 reissue containing Head's original book and two of Kirkman's added volumes.

Product Note:
Volume 1 of the 5 volume facsimile collection Key Writings on Subcultures, 1535-1727: Classics from the Underworld [0-415-28675-1]

Series Information:
Routledge Literary Sourcebooks

'It was like God had a human voice, with all the infinite tenderness and anciency and mortal gravity of a living Creator speaking to his son.' - Allen Ginsberg on the voice of William Blake

This volume brings together new essays on the relations between fiction and the economy by eleven academics, all established or emergent scholars from different fields of expertise. The essays range widely in their respective foci, extending beyond purely literary studies to encompass history, the history of language, studies in the visual arts, and philosophy. Including essays from leading (and in some cases multilingual) academics in Europe as well as the UK, Fiction and Economy is genuinely international, distinctive, and broad in its scope.