Your cart is empty
Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. The Yellow Wall-Paper and Other Stories makes available the fullest selection of her short fiction ever printed. In addition to her pioneering masterpiece, `The Yellow Wall-Paper' (1890), which draws on her own experience of depression and insanity, this edition features her Impress `story studies', works in the manner of writers such as James, Twain, and Kipling. These stories, together with other fiction from her neglected California period (1890-5), throw new light on Gilman as a practitioner of the art of fiction. In her Forerunner stories she repeatedly explores the situation of `the woman of fifty' and inspires reform by imagining workable solutions to a range of personal and social problems. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Fair Seed-Time is a major re-interpretation of the historical background to the writings of George Eliot. It rejects several oft-repeated myths about the early 19th Century Midland world in which George Eliot grew up, emphasises the importance of a previously neglected character in that world, Francis Newdigate, and provides a detailed insight into the life of Eliot's father, Robert Evans. It shows how he rose socially throughout his life and how he played a significant role in the professional development of early 19th Century Land Agents. It provides detailed and carefully-argued evidence to illustrate how his life and work profoundly influenced George Eliot's novels, from which there are many quotations. The author has delved into previously unread historical diaries and many other original and previously little used sources to bring alive the rapidly changing economic and social world of the early nineteenth century in general and north Warwickshire in particular. The result will be of interest both to general and local historians of this period, those concerned with the evolution of land agency as a profession, and to all students of literature, and especially George Eliot scholars, because of the fresh insights into her work.
'I hated the office. I hated my work...the only career in life within my reach was that of an author.' The only autobiography by a major Victorian novelist, Trollope's account offers a fascinating insight into his literary life and opinions. After a miserable childhood and misspent youth, Trollope turned his life around at the age of twenty-six. By 1860 the 'hobbledehoy' had become both a senior civil servant and a best-selling novelist. He worked for the Post Office for many years and stood unsuccessfully for Parliament. Best-known for the two series of novels grouped loosely around the clerical and political professions, the Barsetshire and Palliser series, in his Autobiography Trollope frankly describes his writing habits. His apparent preoccupation with contracts, deadlines, and earnings, and his account of the remorseless regularity with which he produced his daily quota of words, has divided opinion ever since. This edition reassesses the work's distinctive qualities and includes a selection of Trollope's critical writings to show how subtle and complex his approach to literature really was. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
In 1872, a young archaeologist at the British Museum made a tremendous discovery. While he was working his way through a Mesopotamian 'slush pile', George Smith, a self-taught expert in ancient languages, happened upon a Babylonian version of Noah's Flood. His research suggested this 'Deluge Tablet' pre-dated the writing of Genesis by a millennium or more. Smith went on to translate what later became The Epic of Gilgamesh, perhaps the oldest and most complete work of literature from any culture. Against the backdrop of innovative readings of a range of paintings, novels, histories and photographs (by figures like Dickens, Eliot, James, Dyce, Turner, Macaulay and Carlyle), this book demonstrates the Gordian complexity of the Victorians' relationship with history, while also seeking to highlight the Epic's role in influencing models of time in late-Victorian geology. Discovering Gilgamesh will be of interest to readers, students and researchers in literary studies, Victorian studies, history, intellectual history, art history and archaeology. -- .
An engaging look at how debates over the fate of literature in our digital age are powerfully conditioned by the nineteenth century's information revolution What happens to literature during an information revolution? How do readers and writers adapt to proliferating data and texts? These questions appear uniquely urgent today in a world of information overload, big data, and the digital humanities. But as Maurice Lee shows in Overwhelmed, these concerns are not new-they also mattered in the nineteenth century, as the rapid expansion of print created new relationships between literature and information. Exploring four key areas-reading, searching, counting, and testing-in which nineteenth-century British and American literary practices engaged developing information technologies, Overwhelmed delves into a diverse range of writings, from canonical works by Coleridge, Emerson, Charlotte Bronte, Hawthorne, and Dickens to lesser-known texts such as popular adventure novels, standardized literature tests, antiquarian journals, and early statistical literary criticism. In doing so, Lee presents a new argument: rather than being at odds, as generations of critics have viewed them, literature and information in the nineteenth century were entangled in surprisingly collaborative ways. An unexpected, historically grounded look at how a previous information age offers new ways to think about the anxieties and opportunities of our own, Overwhelmed illuminates today's debates about the digital humanities, the crisis in the humanities, and the future of literature.
* Casts new light on how Chekhovs plays can be interpreted and enacted * The author explores all the prime components of Chekhov's theatrical technique: text construction, themes and ideas, scenes, dialogue, plot, and interaction between verbal and nonverbal elements * A rigorous and comprehensive treatment of the many aspects of Chekhov's artistic universe * All the major works explored. One century after the death of Anton Chekhov (1860-1904), his plays are celebrated throughout the world as a major milestone in the history of theatre and drama. Outside the Russian-speaking community, he is undoubtedly the most widely translated, studied and performed of all Russian writers. His plays are characterised by their evasiveness: tragedy and comedy, realism and naturalism, symbolism and impressionism, as well as other labels of school and genre - all fail to account for the uniqueness of 'Chekhovism', i.e., the essence of his artistic system and world view. Presence through Absence is a
On 29 August 1816, Lord Amherst, exhausted after travelling overnight during an embassy to China, was roughly handled in an attempt to compel him to attend an immediate audience with the Jiaqing Emperor at the Summer Palace of Yuanming Yuan. Fatigued and separated from his diplomatic credentials and ambassadorial robes, Amherst resisted, and left the palace in anger. The emperor, believing he had been insulted, dismissed the embassy without granting it an imperial audience and rejected its "tribute" of gifts. This diplomatic incident caused considerable disquiet at the time. Some 200 years later, it is timely in 2016 to consider once again the complex and vexed historical and cultural relations between two of the nineteenth-century world's largest empires. The interdisciplinary essays in this volume engage with the most recent work on British cultural representations of, and exchanges with, Qing China, extending our existing but still provisional understandings of this area of study in new and exciting directions. They cover such subjects as female foot binding; English and Chinese pastoral poetry; translations; representations of the trade in tea and opium; Tibet; and the political, cultural and environmental contexts of the Amherst embassy itself. Featuring British and Chinese writers such as Edmund Spenser, Wu Cheng'en, Thomas De Quincey, Oscar Wilde, James Hilton, and Zhuangzi, these essays take forward the compelling and highly relevant subject for today of Britain and China's relationship. Peter J. Kitson is Professor of English at the University of East Anglia; Robert Markley is W.D. and Sara E. Trowbridge Professor of English at the University of Illinois. Contributors: Elizabeth Chang, Peter J. Kitson, Eugenia Zuroski-Jenkins, Zhang Longxi, Mingjun Lu, Robert Markley, Eun Kyung Min, Q.S. Tong
Of all Jack London's fictions none have been as popular as his dog
stories. In addition to The Call of the Wild, the epic tale of a
Californian dog's adventures during the Klondike gold rush, this
edition includes White Fang, and five famous short stories -
Batard', Moon-Face', Brown Wolf', That Spot', and To Build a Fire'.
This book uses six canonical novelists and their recreations in a variety of media to argue a reconceptualisation of our approach to the study of adaptation. The works of Balzac, Hugo, Flaubert, Zola, Maupassant and Verne reveal themselves not as originals to be defended from adapting hands, but as works fashioned from the adapted voices of a host of earlier artists, moments and media. The text analyses reworkings of key nineteenth-century texts across time and media in order to emphasise the way in which such reworkings cast new light on many of their source texts, and how they reveal the probing analysis nineteenth-century novelists undertake in relation to notions of originality and authorial borrowing. Adapting Nineteenth-Century France charts such revision through a range of genres encompassing the modern media of radio, silent film, fiction, musical theatre, sound film and television. Contents Introduction, Kate Griffiths I Labyrinths of Voices: Emile Zola, Germinal and Radio, Kate Griffiths II Diamond Thieves and Gold Diggers: Balzac, Silent Cinema and the Spoils of Adaptation, Andrew Watts III Fragmented Fictions: Time, Textual Memory and the (Re)Writing of Madame Bovary, Andrew Watts IV Les Miserables, Theatre and the Anxiety of Excess, Andrew Watts V Chez Maupassant: The (In)Visible Space of Television Adaptation, Kate Griffiths VI Le Tour du monde en quatre-vingts jours: Verne, Todd, Coraci and the Spectropoetics of Adaptation, Kate Griffiths Conclusion, Andrew Watts
In the late eighteenth-century English novel, the question of feminism has usually been explored with respect to how women writers treat their heroines and how they engage with contemporary political debates, particularly those relating to the French Revolution. Megan Woodworth argues that women writers' ideas about their own liberty are also present in their treatment of male characters. In positing a 'Gentleman's Liberation Movement,' she suggests that Frances Burney, Charlotte Smith, Jane West, Maria Edgeworth, and Jane Austen all used their creative powers to liberate men from the very institutions and ideas about power, society, and gender that promote the subjection of women. Their writing juxtaposes the role of women in the private spheres with men's engagement in political structures and successive wars for independence (the American Revolution, the French Revolution, and the Napoleonic Wars). The failures associated with fighting these wars and the ideological debates surrounding them made plain, at least to these women writers, that in denying the universality of these natural freedoms, their liberating effects would be severely compromised. Thus, to win the same rights for which men fought, women writers sought to remake men as individuals freed from the tyranny of their patriarchal inheritance.
Satoko Shimazaki revisits three centuries of kabuki theater, reframing it as a key player in the formation of an early modern urban identity in Edo Japan and exploring the process that resulted in its re-creation in Tokyo as a national theatrical tradition. Challenging the prevailing understanding of early modern kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki instilled a sense of shared history in the inhabitants of Edo (present-day Tokyo) by invoking "worlds," or sekai, derived from earlier military tales, and overlaying them onto the present. She then analyzes the profound changes that took place in Edo kabuki toward the end of the early modern period, which witnessed the rise of a new type of character: the vengeful female ghost. Shimazaki's bold reinterpretation of the history of kabuki centers on the popular ghost play Tokaido Yotsuya kaidan (The Eastern Seaboard Highway Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku IV. Drawing not only on kabuki scripts but also on a wide range of other sources, from theatrical ephemera and popular fiction to medical and religious texts, she sheds light on the development of the ubiquitous trope of the vengeful female ghost and its illumination of new themes at a time when the samurai world was losing its relevance. She explores in detail the process by which nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity.
'Coward! Sneak! May good men shun him, from henceforth! may his Queen refuse to receive him! You, an earl's daughter! Oh, Isabel! How utterly you have lost yourself!' When the aristocratic Lady Isabel abandons her husband and children for her wicked seducer, more is at stake than moral retribution. Ellen Wood played upon the anxieties of the Victorian middle classes who feared a breakdown of the social order as divorce became more readily available and promiscuity threatened the sanctity of the family. In her novel the simple act of hiring a governess raises the spectres of murder, disguise, and adultery. Her sensation novel was devoured by readers from the Prince of Wales to Joseph Conrad and continued to fascinate theatre-goers and cinema audiences well into the next century. This edition returns for the first time to the racy, slang-ridden narrative of the first edition, rather than the subsequent stylistically 'improved' versions hitherto reproduced by modern editors. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Examining nineteenth-century novels and philosophical essays on the conception of fictional form, Felicia Bonaparte sees the novel in this period not as the continuation of eighteenth-century "realism" but as a genre unto itself. Determined to address the crises that had shattered the age, and drawing on the thought of the early German Romantics, these novelists created a form that would remake the world. They spoke of this process as poesis, with the purpose of embodying "the idealistic in the real" and the requirement of a "double plot" and a double language to convey it. The novel carried this double meaning in the language of mythical symbolism. Bonaparte argues that it is in such language that this fiction must be read.
This open access collection of essays examines the literary advice industry since its emergence in Anglo-American literary culture in the mid-nineteenth century within the context of the professionalization of the literary field and the continued debate on creative writing as art and craft. Often dismissed as commercial and stereotypical by authors and specialists alike, literary advice has nonetheless remained a flourishing business, embodying the unquestioned values of a literary system, but also functioning as a sign of a literary system in transition. Exploring the rise of new online amateur writing cultures in the twenty-first century, this collection of essays considers how literary advice proliferates globally, leading to new forms and genres.
Domestic issues, chastity, morality, marriage and love are concerns we typically associate with Victorian female characters. But what happens when men in Victorian novels begin to engage in this type of feminine discourse? While we are familiar with certain Victorian women seeking freedom by moving beyond the domestic sphere, there is an equally interesting movement by the domestic man into the private space through his performance of femininity. This book defines the domesticated bachelor, examines the effects of the blurring of boundaries between the public and private spheres, and traces the evolution of the public discourse on masculinity in novels such as Bronte's Shirley, Braddon's Lady Audley's Secret, Eliot's Daniel Deronda, and Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. This bachelor, along with his female counterpart, the New Woman, opens up for discussion new definitions of Victorian masculinity and gender boundaries and blurs the rigid distinction between the gendered spaces thought to be in place during the Victorian period.
First published in 1796, Camilla deals with the matrimonial
concerns of a group of young people-Camilla Tyrold and her sisters,
the daughters of a country parson, and their cousin Indiana
Lynmere-and, in particular, with the love affair between Camilla
herself and her eligible suitor, Edgar Mandlebert. The path of true
love, however, is strewn with intrigue, contretemps and
misunderstanding. An enormously popular eighteenth-century novel,
Camilla is touched at many points by the advancing spirit of
romanticism. As in Evelina, Fanny Burney weaves into her novel
strands of light and dark, comic episodes and gothic shudders, and
creates a pattern of social and moral dilemmas which emphasize and
illuminate the gap between generations.
One of a series designed to provide a new, accessible approach to the works of great poets and playwrights. Each text includes general notes on the text; discussion of themes, issues and context; and suggestions for further reading.
This Victorian comedy of manners sparkles with Wilde's trademark
repartee, epigrams, and witty dialogue. Arch-moralist Lady
Windermere, shattered by the suspicion of her husband's infidelity,
contemplates running off with a roue until her rival illustrates
the difference between morality and its appearance. A comic
masterpiece, studded with humorous quips and clever
The discourse of Victorian liberalism has long been explored by scholars of literature, with reference to politics, ethics and aesthetics. Yet little attention has been paid to music's role in the context of these debates, leaving a rich collection of historical and archival detail on the periphery of our understanding. From the impact of the National Sunday League to the reception of Wagner in London, this collection of essays aims to nuance current approaches to the aesthetic facets of liberalism, examining the interaction between music and liberal ideas in a variety of social contexts. The significance of music for modern conceptions of self-hood and community is uncovered, revealing a new dimension of Victorian liberalism.
'Our deeds carry their terrible consequences...consequences that are hardly ever confined to ourselves.' Pretty Hetty Sorrel is loved by the village carpenter Adam Bede, but her head is turned by the attentions of the fickle young squire, Arthur Donnithorne. His dalliance with the dairymaid has unforeseen consequences that affect the lives of many in their small rural community. First published in 1859, Adam Bede carried its readers back sixty years to the lush countryside of Eliot's native Warwickshire, and a time of impending change for England and the wider world. Eliot's powerful portrayal of the interaction of ordinary people brought a new social realism to the novel, in which humour and tragedy co-exist, and fellow-feeling is the mainstay of human relationships. Faith, in the figure of Methodist preacher Dinah Morris, offers redemption to all who are willing to embrace it. This new edition is based on the definitive Clarendon edition and Eliot's corrected text of 1861. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This book brings together fourteen of the most ambitious and thought-provoking recent essays by David Punter, who has been writing on the Gothic to academic and general acclaim for over thirty years. Punter addresses developments in Gothic writing and Gothic criticism since the mid-eighteenth century, by isolating and discussing specific themes and scenarios that have remained relevant to literary and philosophical discussion over the decades and centuries, and also by paying close attention to the motifs, figures and recurrences that loom so large in twenty-first-century engagements with the Gothic. This book, while engaging deeply with Gothic history, constantly addresses our continuing immediate encounters with Gothic tropes - the vampire, the zombie, the phantom, the living dead.
Oliver Twist is a classic tale of a boy of unknown parentage born in a workhouse and brought up under the cruel conditions to which pauper children were exposed in the Victorian England. With this novel, Dickens did not merely write a topical satire on the workhouse system and the role of the 1834 New Poor Law in fostering criminality. He created a moral fable about the survival of good, a romance, and a gripping story in which he exploited suspense and violence more effectively than any of his contemporaries. The new Oxford World's Classics edition of Oliver Twist is based on the authoritative Clarendon edition, which uses Dickens's revised text of 1846. It includes his preface of 1841 in which he defended himself against hostile criticism, and includes all twenty-four original illustrations by George Cruikshank. Stephen Gill's groundbreaking introduction gives a fascinating new account of the novel. He also provides appendices on Dickens and Cruikshank, on Dickens's Preface and the Newgate Novel Controversy, on Oliver Twist and the New Poor Law, and on thieves' slang.
The bestselling Annotated Alice was the first work to decode the wordplay and mathematical riddles in Carroll's classic stories.This Definitive Edition comgines the notes of Gardner's 1960s edition, together with hundreds of newer discoveries.
'he looked up wistfully in my face, and gravely asked - "Mamma, why are you so wicked?"' The mysterious new tenant of Wildfell Hall has a dark secret. But as the captivated Gilbert Markham will discover, it is not the story circulating among local gossips. Living under an assumed name, 'Helen Graham' is the estranged wife of a dissolute rake, desperate to protect her son from his destructive influence. Her diary entries reveal the shocking world of debauchery and cruelty from which she has fled. Combining a sensational story of a man's physical and moral decline through alcohol, a study of marital breakdown, a disquisition on the care and upbringing of children, and a hard-hitting critique of the position of women in Victorian society, this passionate tale of betrayal is set within a stern moral framework tempered by Anne Bronte's optimistic belief in universal redemption. Drawing on her first-hand experiences with her brother Branwell, Bronte's novel scandalized contemporary readers. It still retains its power to shock. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
You may like...
Cat on a Hot Tin Roof: York Notes…
T. Williams Paperback
York Notes Companions Gothic Literature
Susan Chaplin Paperback
The World of Jane Austen
Brian and Brenda Williams Paperback
York Notes Companions: Romantic…
John Gilroy Paperback
The Mayor of Casterbridge
Mary Sewell Paperback
The Brontes - Selected Poems by…
Steve Eddy, Charlotte Bronte, … Paperback (2)
Middlemarch: York Notes Advanced
Julian Cowley Paperback
American Childhood - Essays on…
Anne Scott MacLeod Paperback R655 Discovery Miles 6 550
Great Expectations: York Notes Advanced
Nigel Messenger Paperback (2)
Lyrical Ballads: York Notes Advanced
Steve Eddy Paperback