This book builds upon recent theoretical approaches that define queerness as more of a temporal orientation than a sexual one to explore how Edgar Allan Poe's literary works were frequently invested in imagining lives that contemporary readers can understand as queer, as they stray outside of or aggressively reject normative life paths, including heterosexual romance, marriage, and reproduction, and emphasize individuals' present desires over future plans. The book's analysis of many of Poe's best-known works, including "The Raven," "The Fall of the House of Usher," "The Black Cat," "The Masque of the Red Death," and "The Murders in the Rue Morgue," show that his attraction to the liberation of queerness is accompanied by demonstrations of extreme anxiety about the potentially terrifying consequences of non-normative choices. While Poe never resolved the conflicts in his thinking, this book argues that this compelling imaginative tension between queerness and temporal normativity is crucial to understanding his canon.

How did the Victorians think about disasters such as famines and epidemic diseases? What was the relationship between such cataclysmic events and literary forms, styles and genres? In what way was thinking about disasters also crucial to practices of governance? Does the legacy of such Victorian thinking still shape our contemporary responses to 'natural' disasters? This book seeks to answer such questions by looking at a wide range of administrative, medical, historical, journalistic and literary texts written about Britain's key imperial possession in the 19th-century - south Asia. In doing so, it expands our ideas about Victorian literature, just as it reshapes our definitions of 'natural' disasters themselves.

Derogation of nineteenth-century women novelists was often the immediate response to their works. While modern feminist scholarship has repudiated this view of scribbling women, finding much of value in both substance and style in this body of literature, many critics and academics remain uninformed and continue to present an almost totally male canon as representative of meritorious writing of this period. The present work undertakes an empirical test of stereotypical notions about women's and men's nineteenth-century fiction, utilizing the computer to examine 80,000 words of running text from passages randomly chosen in twenty novels each by women and men. This material is analyzed for occurrences of various aspects of writing style, such as similes, parallel structures, rhetorical devices, and certain adverbs and adjectives, as well as for sentence length and complexity. That these nonimpressionistic findings show no overwhelming gender differences should finally put to rest traditional negative stereotypes about nineteenth-century women writers. The author of an empirical analysis of twentieth-century fiction by men and women, Professor Hiatt uses these previous findings for a comparison of twentieth and nineteenth-century materials. The twentieth-century analysis showed greater linguistic and stylistic disparities between men's and women's writing. A comparison with the nineteenth-century materials indicates that diachronic shifts have occurred much more broadly and drastically in fiction by male authors. Carefully documented and written, this study will be valuable for researchers and students of women's studies, nineteenth-century American literature, linguistics, stylistics, and computer applications in the humanities.

Walt Whitman is a poet of contexts. His poetic practice was one of observing, absorbing, and then reflecting the world around him. Walt Whitman in Context provides brief, provocative explorations of thirty-eight different contexts - geographic, literary, cultural, and political - through which to engage Whitman's life and work. Written by distinguished scholars of Whitman and nineteenth-century American literature and culture, this collection synthesizes scholarly and historical sources and brings together new readings and original research.

This timely book traces ideas of pacifism through English literature, particularly poetry. Four wide-ranging chapters, drawing on both religious and secular texts, provide intellectual and historical contexts. There follows a chronological analysis of poetry which rejects war and celebrates peace, from the middle ages to the present day. The book provides inspiration for all readers who seriously believe that conflict and war do not solve problems, and for students it provides a new kind of thematic history of literature.

This set of volumes on Henry James is the third in the "Critical Assessments of Writers in English" series, the aim of which is to provide complete collections of previously published, formative critical assessments covering the whole work of individual writers. They should be useful to serious readers of literature, researchers and advanced students. Many of the pieces included were originally published in journals or books which are now out of print or very difficult to obtain. Each set has an authoritative introductory survey, as well as a full bibliography and biographical details. The choice of material in this set attempts both to gauge the changing response to James and also to establish how consistent has been his stature as a writer. It also attempts to reflect his image - as novelist, critic, dramatist, short-story writer, cultural commentator, travel writer and as a personality as equivocal as his texts. The first volume offers a series of memories of James: friends and critics who help to place the personality in context, followed by responses from 14 writers, poets and novelists. The second volume offers in chronological progression a series of contemporary reviews and views of James's work from both America and Britain together with a series of general essays written between 1879 and 1919. The third volume offers a 20th-century overview from 1919 to the 1980s reflecting the range of the response to James both in terms of subject matter and critical variety. The final volume offers a series of 20th-century interpretations of the major works. This collection provides the student of James with a range of writing on James' work from the 19th century to the 1980s. The bibliography offers a selective listing of the major critical texts and bibliographies as well as details of the publication and serialization of James' works.

This book explores the relationship between ekphrasis and memory in the novel. Drawing on A la recherche du temps perdu, Leonid Bilmes considers how Vladimir Nabokov, W. G. Sebald, Ben Lerner, Ali Smith and Lydia Davis have employed and reshaped Proust's way of depicting the recollected past. In Ada, Austerlitz, 10:04, How to Be Both and The End of the Story, memory images are variously transposed into intermedial descriptions that inform the narrator's story, just as they serve to shape the reader's own remembrance of each of these narratives. Ekphrasis in the novel after Proust, Bilmes argues, acts as a distinct site within the text where past and present, self and other, image and text, seeing and hearing, are ever on the brink of reconciliation. The book surveys a wide field of critical inquiry, encompassing classical theorizations of ekphrasis, philosophical explorations of memory and visuality, as well as seminal studies of image-text relations by, among others, W. J. T. Mitchell, Jean-Luc Nancy and Liliane Louvel. Bilmes's compelling dialogue with theory and literature evinces the underexplored bond between ekphrasis and memory in the contemporary novel.

Gothic death 1740-1914 explores the representations of death and dying in Gothic narratives published between the mid-eighteenth century and the beginning of the First World War. It investigates how eighteenth century Graveyard Poetry and the tradition of the elegy produced a version of death that underpinned ideas about empathy and models of textual composition. Later accounts of melancholy, as in the work of Ann Radcliffe and Mary Shelley, emphasise the literary construction of death. The shift from writing death to interpreting the signs of death is explored in relation to the work of Poe, Emily Bronte and George Eliot. A chapter on Dickens examines the significance of graves and capital punishment during the period. A chapter on Haggard, Stoker and Wilde explores conjunctions between love and death and a final chapter on Machen and Stoker explores how scientific ideas of the period help to contextualise a specifically fin de siecle model of death. -- .

In these informed and entertaining essays, Juliet McMaster's recurring concern is with the interpenetration of intelligence with emotion among Jane Austen's characters. The author, a leading Jane Austen scholar, begins with an exploration of Austen's burgeoning popularity in our culture, though close studies of lesser-well known works such as 'Love and Friendship' and 'The Watsons', and familiar texts such as 'Pride and Prejudice' and 'Emma', moving on to a wide-ranging exploration through all the novels, of the operation of love and the articulation of desire.

After the first phase of industrialization in Britain, the child emerged as both a victim of and a threat to capitalism. This book explores the changing relationship between the child and capitalist society in the works of some of the most important writers of children's and young-adult texts in the Victorian and Edwardian periods.

Despite the modern obsession with genetics and reproductive technology, very little has been written about Dickens's fascination with heredity, nor the impact that this fascination had on his novels . Dickens and Heredity is an attempt to rectify that omission by describing the hereditary theories that were current in Dickens's time and how these are reflected in his fiction. The book also argues that Dickens jettisoned his earlier belief in the prescriptive and deterministic potential of heredity after Darwin published The Origin of the Species in 1859.

The text here is based on Hershel Parker and Harrison Hayford's 1967 edition, footnoted to include biographical discoveries. Reviews, letters by Melville and belated praise is collected, and a wealth of new biographical material has been added, while new research is highlighted. Parker also explores what writing Moby-Dick cost Melville and his family.

Robert Southey's preoccupation with the presumed danger of admitting Catholics to Parliament, following the Irish Act of Union, has always been an embarrassment to his admirers. Stuart Andrews, in "Robert Southey," ""argues that the Poet Laureate's denunciation of global Catholicism is essential to understanding his life, works, and times. On this issue Southey was absolutely consistent--from his first visit to Lisbon in 1795 to his "Colloquies" published in 1829. Echoes of the debate have faded, but Southey's partisan rhetoric reflects its intensity and reveals much about the religious culture and concern for English identity in this stormy period

At the dawn of America's continental empire, James Fenimore Cooper in the early 1800s became the new nation's first major novelist, inaugurating a great period in American literature and bequeathing a number of classic texts including the Leather-Stocking Tales. This Companion to Cooper's writings appeals to high school and college students by outlining Cooper's most frequently assigned novels and establishing their historical backgrounds concerning American Indians and the early United States. Two opening chapters review the author's life and accomplishments, and another offers tips for managing Cooper's style and subject matter. Cooper's breakthrough novel The Spy (1821), which features George Washington as a major actor, has a chapter of its own. The second half of the Companion highlights the Leather-Stocking Tales, with one chapter on the overall saga and five chapters devoted to the individual novels in the series: The Deerslayer, The Last of the Mohicans, The Pathfinder, The Pioneers, and The Prairie. Altogether this Companion shares the spirit of adventure that made Cooper a pioneer of American Romantic literature and his writings a perennial source for ideas and images of Native America, the frontier, and the early modern USA.

• The Spy
• The Deerslayer
• The Last of the Mohicans
• The Pathfinder
• The Pioneers
• The Prairie

Rudyard Kipling has been one of the most loved and the most loathed of English writers. Rudyard Kipling: A Literary Life is a study of the forces and influences that shaped his work--including his unusual family background, his role as the laureate of Empire, and the deaths of two of his children--and of his complex relations with a literary world that first embraced and then rejected him, but could never ignore him.

'Sullivan's outstanding book is the first to show how French courtesans were fully-fledged masters of the pen as well as proverbial ladies of the night. We learn how their rewriting of classics such as The Lady of the Camellias and their response to a male "backlash" inspire Colette in previously unseen ways.' - Nicholas White, University of Cambridge, UK This book is about the autobiographical fictions of nineteenth-century French courtesans. In response to damaging representations of their kind in Zola and Alexandre Dumas' novels, Celeste de Chabrillan, Valtesse de la Bigne, and Liane de Pougy crafted fictions recounting their triumphs as celebrities of the demi-monde and their outcries against the social injustices that pushed them into prostitution. Although their works enjoyed huge success in the second half of the nineteenth century, male writers penned faux-memoirs mocking courtesan novels, and successfully sowed doubt about their authorship in a backlash against the profitable notoriety the novels earned these courtesans. Colette, who did not write from personal experience but rather out of sympathy for the courtesans with whom she socialized, innovated the genre when she wrote three novels exploring the demi-mondaine's life beyond prostitution and youth.

An exploration across thirteen essays by critics, translators and creative writers on the modern-day afterlives of Old English, delving into how it has been transplanted and recreated in the twentieth and twenty-first centuries. Old English language and literary style have long been a source of artistic inspiration and fascination, providing modern writers and scholars with the opportunity not only to explore the past but, in doing so, to find new perspectives on the present. This volume brings together thirteen essays on the modern-day afterlives of Old English, exploring how it has been transplanted and recreated in the twentieth and twenty-first centuries by translators, novelists, poets and teachers. These afterlives include the composition of neo-Old English, the evocation in a modern literary context of elements of early medieval English language and style, the fictional depiction of Old English-speaking worlds and world views, and the adaptation and recontextualisation of works of early medieval English literature. The sources covered include W. H. Auden, J. R. R. Tolkien, and Seamus Heaney, alongside more recent writers such as Christopher Patton, Hamish Clayton and Paul Kingsnorth, as well as other media, from museum displays to television. The volume also features the first-hand perspectives of those who are authors and translators themselves in the field of Old English medievalism.

Bernard Shaw was a prolific author of book reviews, novels, plays, criticism, essays, and correspondence. Throughout his voluminous writings, proverbs occur repeatedly. This book is a comprehensive index to proverbs in ShaW's writings. An introductory chapter discusses the importance of proverbs in ShaW's works and analyzes his use of them. The bulk of the volume is a key-word index to the proverbs, along with a list of editions of ShaW's writings that were consulted.

Proverbs in the key-word index are arranged alphabetically according to the most significant word in the text. Each entry cites quotations from ShaW's works in which the proverb appears. Entries also identify the edition of ShaW's works consulted, and provide the page number on which the proverb appears. The entries then cite major proverb and quotation dictionaries which can be consulted for additional information. Appendices overview the frequency with which Shaw used various proverbial expressions and summarize their distribution in his writings.

In diesem interdisziplinaren Sammelband wird nicht nur eine Motivgeschichte des Themas Wasser vorgelegt. Vielmehr eint die Beitrage der Ansatz, Wasser als ein mit vielfaltigen kulturellen Bedeutungen aufgeladenes Phanomen und als Akteur zu verstehen. Alle Aufsatze befassen sich mit der Reprasentation der grundlegenden Eigenschaft von Wasser, namlich dessen materieller Wandelbarkeit. Diese zeigt sich in so faszinierenden Aspekten wie der musikalischen 'Sprache' von Kunstbrunnen oder in der Mittlerfunktion von Wasser zwischen Mensch und Natur. Wasser kann auch zum Protagonisten in der Gartenarchitektur werden oder soziale und geographische Abgrenzung markieren. Nicht zuletzt kann Wasser auch als programmatischer Tragers eines Kunstwerks fungieren.

Augusta Rohrbach broadens our understanding of the American literary tradition by showing how African American literature and culture greatly influenced the development of realism. Rohrbach traces the influences of the slave narratives—such as the use of authenticating details, as well as dialect, and a frank treatment of the human body—in writings by Howells, Wharton, and others, and explores questions about the shifting relationship between literature and culture in the US from 1830-1930. Beginning with the question, “How might slave narratives—heralded as the first indigenous literature by Theodore Parker—have influenced the development of American Literature?” Rohrbach develops connections between an emerging literary marketplace, the rise of the professional writer, and literary realism.

'...in this study, Goodwyn sets the standard for Wharton criticism.' - Judith E. Funston, American Literature;'Janet Goodwyn sets out, by looking at Wharton's appropriation of different cultures, to nail the 'canard' that she was 'but a pale imitator of Henry James' - Hermione Lee, Times Literary Supplement; The Land of Letters was henceforth to be my country and I gloried in my new citizenship'. So Edith Wharton described her elation upon the publication of her first collection of short stories; her nationality was henceforth writer' and as such she moved with ease between landscapes, between cultures and between genres in the telling of her tales. In this acclaimed study of Wharton's work, the discussion is shaped by her use of specific landscapes and her consistent concern with ideas of place: the American's place in the Western world, the woman's place in her own and in European society, and the author's place in the larger life of a culture. Her landscapes, both actual and metaphorical, give structure and point to the individual texts and to the whole body of her work.

This new collection of essays re-examines the relationship between the aesthetic and the human in Nineteenth- and Twentieth-century manifestations of art for art's sake. It treats aestheticism as a subject of perennial interest in the field. Employing a unique methodology in approaching the study of aestheticism from a transnational, comparative standpoint - the volume as a whole presents readers with a variety of perspectives on the topic, in a coherent way.This book: includes contributions from a number of up-and-coming young scholars who are getting a good name (eg, Yvonne Ivory); addresses the question: 'does art for art's sake seek to de-humanize or re-humanize art, the artist or the artistic receptor?' and engages with art, literature, philosophy and literary and aesthetic theory.Art for art's sake addresses the relationship between art and life. Although it has long been argued that aestheticism aims to de-humanize art, this volume seeks to consider the counterclaim that such de-humanization can also lead to re-humanization and to a deepened relationship between the aesthetic sphere and the world at large.

Not In Sisterhood investigates an important transitional moment in the history of U.S. women's writing : the uneasy shift from the 19th-century model of the "lady author" to some new but undefined alternative. The careers of Edith Wharton and Willa Cather, together with that of their friend and peer Zona Gale, the first woman to win the Pulitzer Prize for drama, reveal several different strategies for negotiating this unknown terrain. While Gale made her feminist politics an integral part of her successful novels and plays, Wharton and Cather publicly denied any interest in gender issues or social reforms. Not in Sisterhood shows how the complex intersections of literary and social politics that shaped the world of Wharton, Cather, and Gale are still at work in today's feminist reconstructions of literary history.

The lever appears to be a very simple object, a tool used since ancient times for the most primitive of tasks: to lift and to balance. Why, then, were prominent intellectuals active around 1800 in areas as diverse as science, philosophy, and literature inspired to think and write about levers? In The Lever as Instrument of Reason, readers will discover the remarkable ways in which the lever is used to model the construction of knowledge and to mobilize new ideas among diverse disciplines. These acts of construction are shown to model key aspects of the human, from the more abstract processes of moral decision-making to a quite literal equation of the powerful human ego with the supposed stability and power of the fulcrum point.