WINNER OF THE PROSE AWARD FOR LITERATURE, LANGUAGE, AND LINGUISTICS

The two principal questions that "The City of Translation" sets out to answer are: how did poetry, philology, catechesis, and literary translation legitimate a coterie of right-wing literati's rise to power in Colombia? And how did these men proceed to dismantle a long-standing liberal-democratic state without derogating basic constitutional freedoms? To answer those questions, Jose Maria Rodriguez Garcia investigates the emergence, development, and decline of what he calls "the reactionary city of translation"--a variation on, and a correction to, Angel Rama's understanding of the nineteenth-century "lettered city" as a primarily liberal and modernizing project. "The City of Translation" makes the tropes of ""translatio"" the conceptual nucleus of a comprehensive analysis that cuts across academic disciplines, ranging from political philosophy and the history of concepts to the relationship of literature to religious doctrine and the law.

Dickens's multifacetedness as a writer and the wide range of his appeal to readers help to account for the extraordinarily large field of critical literature that has grown up in response to his work. Many anthologies of criticism devoted to particular works by Dickens have appeared, as have selections illustrating particular approaches to his writing or developments in criticism from the nineteenth to the twentieth century. However, the aim of this new series is to present a survey of the most important critical literature and key texts and thereby bring students and scholars up to date with developments at the forefront of research and provide a clear pathway through the mass of published material on Dickens. The six volumes in the series are organised around key thematic topics. Each volume is edited by a leading authority in the area who also provides a substantial introduction which surveys the current state of the field, identifies formative moments in its emergence, highlights important work and illustrates critical developments in relation to each theme. The essays and articles come from a variety of sources scattered across the globe, some of them now difficult to obtain. The volumes are published in hardcover and printed on acid-free paper suitable for library collections. This series reflects the international reach of Dickens scholarship, provides an authoritative selection of the best recent work and represents a significant resource for libraries and academics interested in easily locating the key modern literature published on Dickens. It is equally useful for scholars and students new to Dickens studies and experienced scholars who may have overlooked an important essay published in a journal with limited circulation.

This collection of essays, both feminist and historical, analyzes power relations between men and women in the Victorian period. This volume is the first to reshape Victorian studies from the perspective of the postmodern return to history, and is variously influenced by Marxism, sociology, anthropology, and post-structuralist theories of language and subjectivity. It analyzes the struggle for legitimacy and recognition in Victorian institutions and the struggle over meanings in ideological representation of the gendered subject in texts. Contributors cover diverse topics, including Victorian ideologies of motherhood, the male gaze, the cult of the male child genius in narrative painting, the press, and Victorian women and the French Revolution, discussing both well-known and less familiar Victorian texts.

Focusing on the ways in which female novelists have, in their creative work, challenged or scrutinised contemporary assumptions about their own sex, this book's critical interest in women's fiction shows how mid-nineteenth-century women writers confront the conflict between the pressures of matrimonial ideologies and the often more attractive alternative of single or professional life. In arguing that the tensions and dualities of their work represent the honest confrontation of their own ambivalence rather than attempted conformity to convention, it calls for a fresh look at patterns of imaginative representation in Victorian women's literature. Making extensive use of letters and non-fiction, this study relates the opinions expressed there to the themes and methods of the fictional narratives. The first chapter outlines the social and ideological framework within which the authors were writing; the subsequent five chapters deal with the individual novelists, Craik, Charlotte Bronte, Sewell, Gaskell, and Eliot, examining the works of each and also pointing to the similarities between them, thus suggesting a shared female 'voice'. Dealing with minor writers as well as better-known figures, it opens up new areas of critical investigation, claiming not only that many nineteenth-century female novelists have been undeservedly neglected but also that the major ones are further illuminated by being considered alongside their less familiar contemporaries.

An annotated bibliography on women who wrote fiction in the US during the period 1790-1870. The first part is an annotated list of sources that discuss women's fiction in the period and women authors born before 1840 who published before 1870. The second part is an alphabetical list of the approximately 325 19th century writers who meet those criteria. There are indexes by pseudonym, editor, and subject. The sources provide information not only about the individual authors but also about the history of criticism and literary politics, especially women's place in the American literary canon.

"Unfolding the South" presents a new vision of Anglo-Italian cultural relations in the late Romantic and Victorian periods. Responding to recent developments in the fields of literary criticism and art history, the book covers a stimulating range of canonical and non-canonical writers and artists. Eleven essays offer new perspectives on well-known figures such as Elizabeth Barrett Browning, George Eliot, and Mary Shelley, together with discussions of writers and artists of newly-emerging importance. -- .

This studyargues that female networks of conversation, correspondenceand patronage formed the foundation for women's work in the 'higher' realms of Shakespeare criticism and poetry. Eger traces the transition between Enlightenment and Romantic culture, arguing for the relevance of rational argument in the history of women's writing.

"Sartor Resartus" is Thomas Carlyle's most enduring and influential work. First published in serial form in "Fraser's Magazine" in 1833-1834, it was discovered by the American Transcendentalists. Sponsored by Ralph Waldo Emerson, it was first printed as a book in Boston in 1836 and immediately became the inspiration for the Transcendental movement. The first London trade edition was published in 1838. By the 1840s, largely on the strength of "Sartor Resartus," Carlyle became one of the leading literary figures in Britain.
"Sartor Resartus" became one of the important texts of nineteenth-century English literature, central to the Romantic movement and Victorian culture. At the time of Carlyle's death in 1881, more than 69,000 copies had been sold. The post-Victorian influence continued and extends to writers as diverse as Virginia Woolf and James Joyce, Willa Cather and Ernest Hemingway.
This edition of "Sartor Resartus" is the first publication of the work that uses all extant versions to create an accurate authorial text. This volume, the second in an eight-volume series, includes a complete textual apparatus as well as a historical introduction and full critical and explanatory annotation.

These essays are arranged progressively to indicate Hardy's development as a writer and thinker, and to present the major aspects of his work as a whole, linking the poetry and the prose at all appropriate stages. They suggest that his formative thought, the product of a period of conflict between new scientific philosophy and humanism on the one hand, and traditional Christian theology combined with Victorian restraints on the other, developed when England was not as intellectually provincial as Matthew Arnold had affirmed. Above all, they illustrate the extent to which the creative imagination and the style of Hardy the writer were stimulated and strengthened by literary influences.

This book examines the outbreak of print in late Victorian Britain. Analyzing categories in new and unique pairings, such as literature and popular culture; books and magazines; publishers and news agents; and media studies and media history, the chapters focus on authorship, production, illustration, and gender. The author uses archival material from publications such as Dickens, Pater, Ruskin, Eliot, Symons, and James, and magazines such as Master Humphrey's Clock, The Westminster Review, Artist and Journal of Home Culture, Publishers' Circular, Yellow book, and Savoy.

Thomas Hardy in the Literary Lives series relates Hardy's life to his career as a writer, giving particular attention to his determination as a young man to make literature his career, his methodical preparation during the first thirty years of his life for that career, the writing of his fourteen published novels and the fame they brought him, and then, the culmination of his life as writer, his emergence in his remaining thirty years as one of the very greatest of English poets and the writer of The Dynasts.

While England has been strengthened by a proud isolationism, she has simultaneously been enriched by the economic, social, and political complexities that have emerged as people of different ethnic and cultural backgrounds have moved within her borders, or when her own citizens have emigrated among those foreigners to live or rule. This book explores the foreign element in English culture and the attempt by English writers from the early 19th to the mid 20th century to portray their complex and often ambiguous responses to that doubly foreign element among them: the foreign woman. While being foreign may begin with national or ethnic difference, the contributors to this book expand it to include other forms of alienation from a dominant culture, resulting from gender, race, class, ideology, or temperament. The many factors shaping English national identity--including British imperialism, immigration patterns, English family and social structures, and English common law--have been shaped by gender-related issues. Though not a prominent literary figure, the foreign woman in England has received increasingly critical attention in recent years as a psychological and sociological phenomenon. By beginning with Byron in the early 19th century and concluding with Lawrence Durrell in the 20th century, this study contributes to a more comprehensive vision of the foreign woman as she is portrayed by a number of British authors, including Shelley, Wordsworth, Charlotte Bronte, Elizabeth Barrett Browning, Wilkie Collins, George Eliot, Joseph Conrad, D. H. Lawrence, and Anita Brookner.

Poetry and Public Discourse in Nineteenth-Century America explores nineteenth-century poetry as it addresses and engages in the major concerns of American cultural life. Focusing on gender, biblical politics, Revolutionary discourses and racial, sectional, and religious identities, this book reveals how these issues contended and negotiated with each other in the shaping of a pluralist democratic polity. Nineteenth-century American poetry, far from being the self-reflective art object of twentieth-century aesthetic theory, offered a rhetorical arena in which civic, economic, and religious trends intersected with each other in mutual definition and investigation. With a deft hand, Shira Wolosky demonstrates the ways in which poetry was a core impulse in the formation of American identity and cultural definition.

Though traditionally defined as a relatively brief time period - typically the half century of 1780-1830 - the "Romantic era" constitutes a crucial, indeed unique, transitional phase in what has come to be called "modernity," for it was during these fifty years that myriad disciplinary, aesthetic, economic, and political changes long in the making accelerated dramatically. Due in part to the increased velocity of change, though, most of modernity's essential master-tropes - such as secularization, instrumental reason, individual rights, economic self-interest, emancipation, system, institution, nation, empire, utopia, and "life" - were also subjected to incisive critical and methodological reflection and revaluation. The chapters in this collection argue that Romanticism's marked ambivalence and resistance to decisive conceptualization arises precisely from the fact that Romantic authors simultaneously extended the project of European modernity while offering Romantic concepts as means for a sustained critical reflection on that very process. Focusing especially on the topics of form (both literary and organic), secularization (and its political correlates, utopia and apocalypse), and the question of how one narrates the arrival of modernity, this collection collectively emphasizes the importance of understanding modernity through the lens of Romanticism, rather than simply understanding Romanticism as part of modernity. This book was previously published as a special issue of European Romantic Review.

This fascinating new study by Mark Asquith offers an original approach to Hardy's art as a novelist and entirely new readings of certain musical scenes in Hardy's works. Asquith utilizes a rich seam of original archival research (both scientific and musicological), which will be of use to all Hardy scholars, and discusses a range of Hardy's major works in relation to musical metaphors - from early fiction The Poor Man and the Lady to later major works Jude the Obscure, Far From the Madding Crowd, the Mayor of Casterbridge .

One of Victorian England s most famous philosophers harbored a secret: Herbert Spencer suffered from an illness so laden with stigma that he feared its revelation would ruin him. He therefore went to extraordinary lengths to hide his malady from the public. Exceptionally, he drew two of his closest friends the novelist George Eliot and her partner, G. H. Lewes into his secret. Years later, he also shared it with a remarkable neurologist, John Hughlings-Jackson, better placed than anyone else in England to understand his illness. Spencer insisted that all three support him without betraying his condition to others and two of them did so. But George Eliot, still smarting from Spencer s rejection, years earlier, of her offer of love, did not. Ingeniously, she devised a means both of nominally respecting (for their contemporaries) and of violating (for our benefit) Spencer s injunction. What she hid from her peers she reveals to us in an act of deferred, but audacious literary revenge. It s here decoded for the first time. Indeed The Complicity of Friends comprises the first disclosure of Spencer s hidden frailty but also, more importantly, of the responses it generated in the lives and works of his three notable friends. This book provides a complete rethinking of its principal figures. The novelist who emerges in these pages is a more sinuous and passionate George Eliot than the oracular Victorian we are used to hearing about. The significance of the friendship between Lewes, her irrepressible partner, and the inventive Hughlings-Jackson is outlined for the first time. And in an ironic twist, even his three farsighted confidants could not anticipate that, late in the twentieth century, certain of Spencer s own intuitions about the nature and provenance of his illness would be vindicated. Those with any interest in George Eliot, Lewes, Hughlings-Jackson, or Spencer will be compelled to re-envision their personalities after reading The Complicity of Friends."

First published in 1965, this reissue of the second edition of T. R. Henn's seminal study offers an impressive breadth and depth of meditations on the poetry of W. B. Yeats. His life and influences are discussed at length, from the impact of the Irish Rebellion upon his youth, to his training as a painter, to the influence of folklore, occultism and Indian philosophy on his work. Henn seeks out the many elements of Yeats' famously complex personality, as well as analysing the dominant symbols of his work, and their ramifications.

First published in 1965, this reissued work by Wendy Craik provides a thorough and extensive study of Jane Austen's six complete novels: Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma and Persuasion. This is a truly groundbreaking study of Austen which, in addition to a close analysis of the novels themselves, also goes on investigate the principles by which Jane Austen selected and arranged her material.

Romanticism was a revolutionary intellectual and artistic movement which generated some of the most popular and influential texts in British and American literary history. This clear and engaging guide introduces the history, major writers and critical issues of this crucial era. This fully updated second edition includes:

• Discussion of a broad range of writers including William Blake, Mary Wollstonecraft, William Wordsworth, Lord Byron, John Keats, Ralph Waldo Emerson, H.D. Thoreau, Frederick Douglas
• A new chapter on American Romanticism
• Discussion of the romantic sublime or romantic imagination
• An engagement with critical debates such as postcolonialism, gender studies and ecocriticism.

Was the American Cowboy gay? Judging from the earliest representations of cowboys and other frontier figures in popular literature--who typically preferred a "buddy" over a wife--the answer seems to be yes. Evidence from books by nineteenth-century Western writers (from legends such as James Fenimore Cooper, Mark Twain, and Owen Wister, to more obscure novelists and diarists) shows how same-sex intimacy and homoerotic admiration were key aspects of Westerns well before the word "homosexual" and its synonyms were invented. American writers celebrated erotic frontier friendships as alternatives to the lawless violence that characterized stories about the early settlers' fabled lives. These males-only clubs of journalists, cowboys, miners, Indians, and "vaqueros" defined themselves by excluding femininity and the cloying ills of domesticity, while embracing what Roosevelt called "strenuous living" with other bachelors in the relative"purity" of wilderness conditions. "Queer Cowboys" recovers this forgotten culture of exclusively masculine, sometimes erotic, and often intimate camaraderie in fiction, photographs, illustrations, song lyrics, historicalephemera, and theatrical performances.

This literary and critical approach to Wagner's Ring provides an original interpretation of the Ring tetralogy and challenges the standard political analyses of the work. The Ring is examined in the tradition of the Romantic drama as a reworking of Greek tragedy as theoretically expressed in the second part of Oper und Drama. In the Ring, using myth as a metaphor for history presents a paradoxical world. The innertextual reflection that Wotan performs in his monologue causes the Ring to self-destruct from within. He actually dismantles or deconstructs the text of the Ring. The doom of the gods happens because the Ring has undermined, unworked, and dismantled its system of signification. Studies of Wagner's theoretical writings and music-dramas have not emphasized aspects of his works within the tradition of German drama and aesthetic theory. This discussion of Wagner's revision of Greek tragedy in Oper und Drama, supplemented by an original interpretation of the Ring operas, places Wagner's writings within these realms. As a fresh interpretation of the Ring tetralogy, this valuable analysis will appeal to Wagner scholars and musicologists interested in Wagner's operas as well as to German cultural history and literary scholars.

Same-Sex Desire in Victorian Religious Culture examines the role of Christian history in 19th century definitions of homosexual identity. Frederick S. Roden charts the emergence of the modern homosexual in relation to religious, not exclusively sociological discourses. Positing Catholicism as complementary to classical Greece, he challenges the separatism of sexuality and religion in critical practice. Moving from Newman and Rossetti, to Hopkins, Wilde, and Michael Field amongst others, this book claims a new literary history, bringing together gay studies and theology in Victorian literature.

The novel of adultery is a nineteenth-century form about the experience of women, produced almost exclusively by men. Bill Overton's study is the first to address the gender implications of this form, and the first to write its history. The opening chapter defines the terms 'adultery' and 'novel of adultery', and discusses how the form arose in Continental Europe, but failed to appear in Britain. Successive chapters deal with its development in France, and with examples from Russia, Denmark, Germany, Spain and Portugal.

"This ground-breaking collection of essays presents a new bookish literary history, which situates questions about books at the intersection of a range of debates about the role of authors and readers, the organization of knowledge, the vogue for collecting, and the impact of overlapping technologies of writing and shifting generic boundaries"--Provided by publisher.