Following his Unfolding Mallarme: The Development of a Poetic Art, this book is the second in Roger Pearson's authoritative two-volume study of the work of Stephanie Mallarme (1842-1898), and the first comprehensive study of Mallarme's 'poetry of circumstance' in any language. For Mallarme, in a world without God, the role of the poet is to break the silence with language and to confer upon the contingency of circumstance a therapeutic semblance of formal and semantic pattern. Literature provides a 'translation of silence', 'intimate galas' in which the mysterious drama of the human condition is performed for and by the reader on the stage of the verse poem, the prose poem, and what Mallarme calls the 'poeme critique'. In Part 1, Pearson examines the prose poems within the context of Mallarme's writing about the theatre. In Part II, he focuses on the 'circumstanzas' - the famous 'Tombeaux', 'Hommages', 'Eventails', and 'vers de circonstance' - in which Mallarme invests the quotidian with the 'glorious lie' of poetry. In a series of close readings Pearson demonstrates how complex poetic structures, and especially the sonnet, may serve to guide the human search for meaning and shape our anguish in a 'ceremony of the Book.'

From 1888 to 1915 Robert Louis Stevenson and Jack London were uniquely placed to witness and record the imperial struggle for the South Pacific. Engaging the major European colonial empires and the USA, the struggle questioned ideas of liberty, racial identity and class like few other arenas of the time. Exploring a unique moment in South Pacific and Western history through the work of Stevenson and London, this study assesses the impact of their national identities on works like The Amateur Emigrant and Adventure; discusses their attitudes towards colonialism, race and class; shows how they negotiated different cultures and peoples in their writing and considers where both writers are placed in the Western tradition of writing about the Pacific. By contextualizing Stevenson's and London's South Pacific work, this study reveals two critical voices of late nineteenth-century and early twentieth-century colonialism that deserve to stand beside their contemporary Joseph Conrad in shaping contemporary attitudes towards imperialism, race, and class.

Memory and memory studies have shaped a major site of humanities research over the last twenty years. Examined by ethnographers, archaeologists, social scientists, historians, economists, archivists, art historians, and literary scholars, the theme of memory - individual memory and memoir, collective memory, official memory and oral memory, cultural memory and popular memory - has informed academic discourse and formed institutional structures. Yet, the matter of memory is, paradoxically, under-explored in studies of the 'long nineteenth century' in France. "Mapping Memory in Nineteenth-Century French Literature and Culture "focuses critical attention on that neglected century when France was struggling to negotiate the serially renewed memory of revolutionary turmoil and socio-cultural redefinition. This volume explores the spaces that the memory process claims and shapes, and it works to identify the crosscurrents that connect those spaces. It asks how memory resists - or cedes to - colonisations by authority, by official discourse, by history, and by aesthetics. It asks how memory-work coincides with or morphs into the processes of the imagination. Eschewing diachronic approaches, the contributors to this volume explore "sites "around which memory is concentrated or which it shapes and informs: Memory on the Street; Sites of National Memory; Metamorphoses: Memory and Literary Practice; and Memory's Imaginary Spaces.

This book is the first complete study of the translations of Machiavelli's "Prince "made in Europe and the Mediterranean countries during the period from the sixteenth to the first half of the nineteenth century: the first, unpublished French translation by Jacques de Vintimille (1546), the first Latin translation by Silvestro Tegli (1560), as well as the first translations in Dutch (1615), German (1692), Swedish (1757) and Arabic (1824). The first translation produced in Spain - dated somewhere between the end of the sixteenth and the early seventeenth century - remained in manuscript form, while there was a second vernacular Spanish version around 1680. The situation in Great Britain was different from the rest of Europe, as it could boast four manuscript translations by the end of the sixteenth century.

Trollope and the Magazines examines the serial publication of several of Trollope's novels in the context of the gendered discourses in a range of Victorian magazines - including Cornhill, Good Words, Saint Pauls , and the Fortnightly Review . It highlights the importance of the periodical press in the literary culture of Victorian Britain, and argues that readers today need to engage with the lively cultural debates in the magazines, in order better to appreciate the complexity of Trollope's popular fiction.

Women's Economic Writing in the Nineteenth Century is the first comprehensive collection of women's economic writing in the long nineteenth century. The four-volume anthology includes writing from women around the world, showcases the wide variety and range of economic writing by women in the period, and establishes a tradition of women's economic writing; selections include didactic tales, fictional illustrations, poetry, economic theory, social theory, reports, letters, novels, speeches, dialogues, and self-help books. The anthology is divided into eight themed sections: political economy, feminist economics, domestic economics, labor, philanthropy and poverty, consumerism, emigration and empire, and self-help. Each section begins with an introduction that tells a story about women writers' relationship to the section theme and then provides an overview of the selections contained therein. Women's Economic Writing in the Nineteenth Century demonstrates just how common it was for women to write about economics in the nineteenth century and establishes important throughlines and trajectories within their body of work.

A work which discusses Storm's significance and artistic stature as a champion of democratic humanitarian traditions and aspirations in 19th century Germany. It highlights his critique of Christianity, his vision of capitalism and his analysis of class relationships. The study contends that his literary form, techniques and strategies were shaped by the need to respond to specific socio-political constraints and prejudices of publishers, editors and readers. The book advocates new approaches to Storm's work and uses many unpublished primary materials.

This is an accessible guide to Jane Eyre that explores its literary and historical contexts and discusses its critical reception. Charlotte Bronte's "Jane Eyre" is one of the most famous literary works of the nineteenth century and has inspired generations of students. This concise but comprehensive guide to the text introduces its contexts, language, reception and adaptation from its first publication to the present. It includes points for discussion, suggestions for further study and an annotated guide to relevant reading. This introduction to the text is the ideal companion to study, offering guidance on: Literary and historical context; Language, style and form; Reading the text; Critical reception and publishing history; Adaptation and interpretation; and, Further reading. "Continuum Reader's Guides" are clear, concise and accessible introductions to key texts in literature and philosophy. Each book explores the themes, context, criticism and influence of key works, providing a practical introduction to close reading, guiding students towards a thorough understanding of the text. They provide an essential, up-to-date resource, ideal for undergraduate students.

The weather in Moscow is good, there's no cholera, there's also no lesbian love...Brrr Remembering those persons of whom you write me makes me nauseous as if I'd eaten a rotten sardine. Moscow doesn't have them--and that's marvellous."
--"Anton Chekhov," writing to his publisher in 1895

Chekhov's barbed comment suggests the climate in which Sophia Parnok was writing, and is an added testament to to the strength and confidence with which she pursued both her personal and artistic life. Author of five volumes of poetry, and lover of Marina Tsvetaeva, Sophia Parnok was the only openly lesbian voice in Russian poetry during the Silver Age of Russian letters. Despite her unique contribution to modern Russian lyricism however, Parnok's life and work have essentially been forgotten.

Parnok was not a political activist, and she had no engagement with the feminism vogueish in young Russian intellectual circles. From a young age, however, she deplored all forms of male posturing and condescension and felt alienated from what she called patriarchal virtues. Parnok's approach to her sexuality was equally forthright. Accepting lesbianism as her natural disposition, Parnok acknowledged her relationships with women, both sexual and non-sexual, to be the centre of her creative existence.

Diana Burgin's extensively researched life of Parnok is deliberately woven around the poet's own account, visible in her writings. The book is divided into seven chapters, which reflect seven natural divisions in Parnok's life. This lends Burgin's work a particular poetic resonance, owing to its structural affinity with one of Parnok's last and greatest poetic achievements, the cycle of love lyrics Ursa Major. Dedicated to her last lover, Parnok refers to this cycle as a seven-star of verses, after the seven stars that make up the constellation. Parnok's poems, translated here for the first time in English, added to a wealth of biographical material, make this book a fascinating and lyrical account of an important Russian poet. Burgin's work is essential reading for students of Russian literature, lesbian history and women's studies.

In the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded to from Spain and Italy, pointing to the similarities and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.

In this compact but highly concentrated study, the author unites clinical and literary critical skills in an attempt to go beyond familiar psychological commentary on Henry James and conduct a detailed and rigorous psychoanalytic investigation into recurring and psychologically significant patterns in his major and minor fiction. Drawing freely on material from notebooks, letters, and other biographical sources, the volume centres on James's unconscious fantasies concerning the human body, mostly the damaged or incomplete human body. These core fantasies are firmly placed at the root of James's creativeness. While one of these fantasies of physical mutilation finds expression in the famous "obscure hurt" of James's late teens, the author develops a hypothesis concerning their much earlier history and their place in the larger psychological constellation of the James family. Accordingly, Henry James Senior, his wife Mary, together with William and Alice James, all figure largely in the intricate and perilous family context of Henry's creative activity. This book also includes original factual research, casting sidelights on matters such as the relation between James's early work and that of Dr Silas Weir Mitchell, and on the early history of psychoanalysis in the United States, including William James's meeting with Freud and his view of early psychoanalytic thinking, and Henry's contact as a patient with early psychoanalytic practitioners at the beginning of the twentieth century.

In contrast to the prevailing scholarly con-sensus that understands sentimentality to be grounded on a logic of love and sympathy, "Apocalyptic Sentimentalism "demonstrates that in order for sentimentality to work as an antislavery engine, it needed to be linked to its seeming opposite--fear, especially the fear of God's wrath. Most antislavery reformers recognized that calls for love and sympathy or the representation of suffering slaves would not lead an audience to "feel right" or to actively oppose slavery. The threat of God's apocalyptic vengeance--and the terror that this threat inspired--functioned within the tradition of abolitionist sentimentality as a necessary goad for sympathy and love. Fear, then, was at the center of nineteenth-century sentimental strategies for inciting antislavery reform, bolstering love when love faltered, and operating as a powerful mechanism for establishing interracial sympathy. Depictions of God's apocalyptic vengeance constituted the most efficient strategy for antislavery writers to generate a sense of terror in their audience.
Focusing on a range of important anti-slavery figures, including David Walker, Nat Turner, Maria Stewart, Harriet Beecher Stowe, and John Brown, "Apocalyptic Sentimentalism "illustrates how antislavery discourse worked to redefine violence and vengeance as the ultimate expression (rather than denial) of love and sympathy. At the sametime, these warnings of apocalyptic retribution enabled antislavery writers to express, albeit indirectly, fantasies of brutal violence against slaveholders. What began as a sentimental strategy quickly became an incendiary gesture, with antislavery reformers envisioning the complete annihilation of slaveholders and defenders of slavery.

This literary, cultural history examines imperial Russian tourism's entanglement in the vexed issue of cosmopolitanism understood as receptiveness to the foreign and pitted against provinciality and nationalist anxiety about the allure and the influence of Western Europe. The study maps the shift from Enlightenment cosmopolitanism to Byronic cosmopolitanism with special attention to the art pilgrimage abroad. For typically middle-class Russians daunted by the cultural riches of the West, vacationing in the North Caucasus, Georgia, and the Crimea afforded the compensatory opportunity to play colonizer kings and queens in "Asia." Drawing on Anna Karenina and other literary classics, travel writing, journalism, and guidebooks, the investigation engages with current debates in cosmopolitan studies, including the fuzzy paradigm of "colonial cosmopolitanism.

Addressed to all readers of poetry, this is a book about the poet's role throughout the last three centuries. The Modern Poet shows how many successive generations of poets across the English-speaking world have had to collaborate and to battle with the culture of the universities.

Nelson provides a study of the ways in which Anglo-American authors constructed "race" in their works from the time of the first British colonists through the period of the Civil War. She focuses on some eleven texts, ranging from widely-known to little-considered, that deal with the relations among Native, African, and Anglo-Americans, and places her readings in the historical, social, and material contexts of an evolving U.S. colonialism and internal imperialism. Nelson shows how a novel such as The Last of the Mohicans sought to reify the Anglo historical past and simultaneously suggested strategies that would serve Anglo-Americans against Native Americans as the frontier pushed further west. Concluding her work with a reading of Harriet Jacobs's Incidents in the Life of a Slave Girl Nelson shows how that text undercuts the racist structures of the pre-Civil War period by positing a revised model of sympathy that authorizes alternative cultural perspectives and requires Anglo-Americans to question their own involvement with racism.

Biological Time, Historical Time presents a new approach to 19th century thought and literature: by focussing on the subject of time, it offers a new perspective on the exchanges between French and German literary texts on the one hand and scientific disciplines on the other. Hence, the rivalling influences of the historical sciences and of the life sciences on literary texts are explored, texts from various scientific domains - medicine, natural history, biology, history, and multiple forms of vulgarisation - are investigated. Literary texts are analysed in their participation in and transformation of the scientific imagination. Special attention is accorded to the temporal dimension: this allows for an innovative account of key concepts of 19th century culture.

Writers of imperial fiction in the period 1840-1914 created a strong image of the British Empire that was often confused with the empire as it actually existed. Even in the 1940s, many people in Britain and the British Dominions still accepted the stereotypical view that the British Empire was a highly moral creation. This book studies the literature of imperialism in the Victorian and Edwardian periods to show how this image of empire was created and how it developed such strength. The volume concentrates on the works of major writers of imperialism, such as Rudyard Kipling, H. Rider Haggard, John Buchan, and G. A. Henty, but also looks extensively at the writings of less familiar figures, such as Robert Ballantyne and W.H.G. Kingston.

Many of the texts produced by these writers were books for boys, and they were very popular. They were often given as gifts and were awarded as prizes in schools. The books created a portrait of the British Empire as a place for settlement, the finding of treasure, the strengthening of religious beliefs and moral training, and the operation of codes of behavior for gentlemen. They emphasized courage and the willingness to face death in the service of Britain, and they suggested that the qualities of good citizens were the same as those of good imperialists. This was a comforting and influential concept during a period of imperial acquisition.

Few people who use the word 'Renaissance' today realize that it is a comparatively recent historical idea, or that it is a 'myth' or story constructed by writers to explain the past. In this innovative and wide-ranging study, J. B. Bullen traces the genesis of that myth back to the late eighteenth and nineteenth centuries. The seeds of the idea are to be found in Voltaire, but Dr Bullen shows how it was taken up by French art historians and Gothic revivalists as an important element in the acrimonious political and religious debates within French historiography. The book's main focus, however, is on English intellectual life and the ways in which writers like Pugin, Ruskin, Browning, and George Eliot took up the terms established by Hugo, Rio, and Michelet in France and adapted a reading of fifteenth-century Italy to suit the special conditions of Victorian England. Ultimately, in the work of Swinburne, Arnold, Pater, and Symonds the Renaissance became a key factor in relating ethics and, in its aesthetics and late nineteenth-century phase, the myth figures prominently in an important discussion about the relationship between power, authority, and individualism. The Myth of the Renaissance in Nineteenth-Century Writing is a major contribution to the analysis of a neglected aspect of Victorian intellectual life and will be essential reading for all scholars and students of the nineteenth century.

This is a rich portrait of a complex period that has been long neglected. -Booklist This is a vital reappraisal. These essays compellingly return to the often-neglected period known in African American history as 'The Nadir' to ensure that it will never again be seen as a cultural disappointment. -Carla Kaplan, author of Zora Neale Hurston: A Life in Letters The years between the collapse of Reconstruction and the end of World War I mark a pivotal moment in African American cultural production. Christened the Post-Bellum-Pre-Harlem era by the novelist Charles Chesnutt, these years look back to the antislavery movement and forward to the artistic flowering and racial self-consciousness of the Harlem Renaissance. Post-Bellum, Pre-Harlem offers fresh perspectives on the literary and cultural achievements of African American men and women during this critically neglected, though vitally important, period of our nation's past. Using a wide range of disciplinary approaches, the sixteen scholars gathered here offer both a reappraisal and celebration of African American cultural production during these influential decades. Alongside discussions of political and artistic icons such as Booker T. Washington, W.E.B. Du Bois, Henry Ossawa Tanner, and James Weldon Johnson are essays revaluing figures such as the writers Paul and Alice Dunbar-Nelson, the New England painter Edward Mitchell Bannister, and Georgia-based activists Lucy Craft Laney and Emmanuel King Love. Contributors explore an array of forms from fine art to anti-lynching drama, from sermons to ragtime and blues, and from dialect pieces and early black musical theater to serious fiction. Contributors include: Frances Smith Foster, Carla L. Peterson, Gwendolyn DuBois Shaw, Audrey Thomas McCluskey, Barbara Ryan, Robert M. Dowling, Barbara A. Baker, Paula Bernat Bennett, Philip J. Kowalski, Nikki L. Brown, Koritha A. Mitchell, Margaret Crumpton Winter, Rhonda Reymond, and Andrew J. Scheiber. Barbara McCaskill is General Sandy Beaver teaching professor and associate professor of English at The University of Georgia. Caroline Gebhard is associate professor of English at Tuskegee University.

Despite feminist reassessments to the contrary, the conventional view that Elizabeth Gaskell personified the Victorian feminine ideal is still very much in place today. Challenging that view in an experimental biography, Felicia Bonaparte proposes that there lived in ""Mrs. Gaskell"" another, antithetical self, a daemonic double, that was not an angel in the house but instead a creature born to be a ""gypsy-bachelor."" Bonaparte does not dispute that ""Mrs. Gaskell"" did exist, but she suggests that Gaskell conceived her, as much as any fictional character, out of a desperate need produced by her childhood experience of rejection and abandonment, in order to gain the love of friends and family and the approval of the world. Gaskell herself, Bonaparte argues, told the story of her double in images encoded in her letters, fiction, and life. Using the methods of literary criticism for biographical ends, Bonaparte traces a pattern of these images, showing how a metaphor that may turn up as a figure of speech in one of Gaskell's letters may be embodied in a character in one of her short stories, dramatized in an incident or plot in one of her novels, and even actualized in an action or a relationship in her life. To reach the inner woman, Bonaparte claims, it is necessary to ""read"" Gaskell's letters, fiction, and life as a single poetic text. In addition to presenting a radically different interpretation both of Gaskell and of her literary work, Bonaparte's unique approach opens up interesting possibilities in a number of other areas: in the writing of biography, in the analysis of metaphor in the nineteenth-century novel, in the study of the relationship between literature and life, in the exploration of links between the inner and outer self, and in women's studies generally.

Apocalyptic nightmares that humanly-created intelligences will one day rise up against their creators haunt the western creative imagination. However, these narratives find their initial expression not in the widely disseminated Frankenstein story but in William Blake's early mythological works. This book looks at why we persistently fear our own creations by examining Blake's illuminated books of the 1790s through the lens of Kierkegaard's theories of personality and of anxiety. It offers a close examination of Kierkegaard's and Blake's similar, and to an extent shared, historical milieux as residents of Denmark's and England's political and economic centers. Each author's residence in a major urban center motivated them to develop a concept of innocence closely identified with the pastoral, and to place their respective and similar concepts of innocence within a larger developmental scheme encompassing an ethical and then a religious consciousness. Rovira identifies contemporary tensions between monarchy and democracy, science and religion, and nature and artifice as the source both of Kierkegaard's concept of anxiety and Blake's representation of creation anxiety in his early illuminated books.

As one of the first English novelists to employ "stream of consciousness" as a narrative technique, Dorothy Richardson ranks among modernism's most important experimentalists, yet her epic autobiographical novel "Pilgrimage" has rarely received the kind of attention given to the writings of her contemporaries James Joyce, Virginia Woolf, and Marcel Proust.

Kristin Bluemel's study explores the relationship between experimental forms and oppositional politics in "Pilgrimage," demonstrating how the novel challenged the literary conventions and cultural expectations of the late-Victorian and Edwardian world and linking these relationships to the novel's construction of a lesbian sexuality, its use of medicine to interrogate class structures, its feminist critique of early-twentieth-century science, and Richardson's short stories and nonfiction.

Covering a wide range of magazine work, including editing, illustration, poetry, needlework instruction and typesetting, this book provides fresh insights into the participation of women in the nineteenth-century magazine industry.