This book studies literary epiphany as a modality of character in the British and American novel. Epiphany presents a significant alternative to traditional models of linking the eye, the mind, and subject formation, an alternative that consistently attracts the language of spirituality, even in anti-supernatural texts. This book analyzes how these epiphanies become "spiritual" and how both character and narrative shape themselves like constellations around such moments. This study begins with James Joyce, 'inventor' of literary epiphany, and Martin Heidegger, who used the ancient Greek concepts behind 'epiphaneia' to re-define the concept of Being. Kim then offers readings of novels by Susan Warner, George Eliot, Edith Wharton, Virginia Woolf, and William Faulkner, each addressing a different form of epiphany.

Joel Chandler Harris was internationally famous in his own time and has a surprisingly broad scholarly and popular following in ours. His portraits of slaves and former slaves, particularly Uncle Remus and Free Joe, poor whites, and Brer Rabbit, the archetypal trickster hero, have influenced many other writers, including Mark Twain, Charles Chesnutt, William Faulkner, Ralph Ellison, Toni Morrison, and a wide array of children's authors from Beatrix Potter to A. A. Milne. Harris also left a lasting mark on popular culture, most clearly manifested through Disney's ^ISong of the South^R and at Disney World attractions featuring versions of Harris's characters. He singlehandedly preserved and made internationally famous the Brer Rabbit folktales, the largest body of African American oral folklore that the world has ever known. Additionally, Harris was a major New South journalist who accelerated the process of reconciliation between North and South and promoted racial tolerance after the Civil War. This reference book is a complete bibliographic guide to the scholarly response to Harris during the last two decades. The introduction explores such issues as Harris's renderings of black dialect, Southern character, and folklore, and his influence on popular culture. The first part is a supplement to Bickley's earlier bibliography of Harris, which covered the period 1862-1976. The second part provides more than 300 entries for books, articles, and dissertations about Harris published after 1976. Entries are grouped in sections according to year of publication, and then alphabetically within each section. Each entry is fully annotated, and a detailed index concludes the volume.

"This dictionary brings together in one volume information on Byron's work, life and times. Areas covered include his poetry and prose; authors and works known to him; genres, forms, styles; his life, biographers and incarnations on stage and screen; manuscripts and editions; historical, social and cultural contexts; and his influence on other art"--Provided by publisher.

This book offers a comprehensive interpretation of the entire range of Tennyson's poetry, with emphasis on the great period up to and including In Memoriam, but also with chapters on Maud, the Idylls of the King, and the best of the later poems. Taking the view that every poem contains its own literary history, Dwight Culler traces Tennyson's evolving image of himself as a poet and the relation of this image to changing literary structures. He particularly emphasizes the "frame" device by which Tennyson first mediated between himself and the world and then, inverting it, placed himself in the world. He also explores the longer "composted" poem by which Tennyson declared himself a Victorian Alexandrian. Eschewing the autobiographical emphasis of recent years, Culler provides readings of Maud, Locksley Hall, The Palace of Art, Tithonus, and the Idylls of the King that depart significantly from previous interpretations. His sympathy for the Victorian element in Tennyson also recovers for modern taste several neglected areas of the poetry: the English Idylls, the civic poem, and the poems of social converse. Culler sees Tennyson's faith in the magical power of the word as the source of his gift and, when he loses that faith, the reason for its decline.

Honorable Mention for the 2014 MLA Alan Bray Memorial Award Finalist for the 2013 LAMBDA LGBT Studies Book Award In nineteenth-century America-before the scandalous trial of Oscar Wilde, before the public emergence of categories like homo- and heterosexuality-what were the parameters of sex? Did people characterize their sexuality as a set of bodily practices, a form of identification, or a mode of relation? Was it even something an individual could be said to possess? What could be counted as sexuality? Tomorrow's Parties: Sex and the Untimely in Nineteenth-Century America provides a rich new conceptual language to describe the movements of sex in the period before it solidified into the sexuality we know, or think we know. Taking up authors whose places in the American history of sexuality range from the canonical to the improbable-from Whitman, Melville, Thoreau, and James to Dickinson, Sarah Orne Jewett, Harriet Jacobs, Frederick Douglass, and Mormon founder Joseph Smith-Peter Coviello delineates the varied forms sex could take in the lead-up to its captivation by the codings of "modern" sexuality. While telling the story of nineteenth-century American sexuality, he considers what might have been lostin the ascension of these new taxonomies of sex: all the extravagant, untimely ways of imagining the domain of sex that, under the modern regime of sexuality, have sunken into muteness or illegibility. Taking queer theorizations of temporality in challenging new directions, Tomorrow's Parties assembles an archive of broken-off, uncreated futures-futures that would not come to be. Through them, Coviello fundamentally reorients our readings of erotic being and erotic possibility in the literature of nineteenth-century America.

The Latino Continuum and the Nineteenth-Century Americas argues that the process of recovering Latina/o figures and writings in the nineteenth century does not merely create a bridge between the US and Latin American countries, peoples, and literatures, as they are currently understood. Instead, it reveals their fundamentally interdependent natures, politically, socially, historically, and aesthetically, thereby recognizing the degree of mutual imbrication of their peoples and literatures of the period. Largely archived in Spanish, it addresses concerns palpably felt within (and integral to) the US and beyond. English-language works also find a place on this continuum and have real implications for the political and cultural life of hispanophone and anglophone communities in the US. Moreover, the central role of Latina/o translations signal the global and the local nature of the continuum. For the Latino Continuum embeds layered and complex political and literary contexts and overlooked histories, situated as it is at the crossroads of both hemispheric and translatlantic currents of exchange often effaced by the logic of borders-national, cultural, religious, linguistic and temporal. To recover this continuum of Latinidad, which is neither confined to the US or Latin American nation states nor located primarily within them, is to recover forgotten histories of the hemisphere, and to find new ways of seeing the past as we have understood it. The figures of the Felix Varela, Miguel Teurbe Tolon, Eusebio Guiteras, Jose Marti and Martin Morua Delgado serve as points of departures for this reconceptualization of the intersection between American, Latin American, Cuban, and Latinx studies.

This timely book treats Hardy's recurring use of one of the major informing myths of Western culture--that of a collision between a solar god and an earth goddess. Stave uses a chronological examination of Hardy's Wessex novels to highlight the author's evolving consciousness of the connections among patriarchy, Christianity, sexism, and classism. From the gentle affirmation of Far From the Madding Crowd to the grim Jude the Obscure, Stave paints a world in which the goddess figures die out, displaced by messianic gods, and a Pagan worldview gives way to a world devoid of spiritual meaning.

Paying attention to the historically specific dimensions of objects such as the photograph, the illustrated magazine and the collection, the contributors to this volume offer new ways of thinking about nineteenth-century practices of reading, viewing, and collecting, revealing new readings of Wordsworth, Shelley, James and Wilde, among others.

Filling a critical void, this book examines French women dramatists of the nineteenth-century who staged works prior to the lifting of censorship laws in 1864. Though none staged overtly feminist drama, Sophie de Bawr, Sophie Gay, Virginie Ancelot, and Delphine Girardin questioned patriarchal dominance and reconstructed ideals of womanhood.

This annotated bibliography of 19th-century literature by and about American textile factory workers examines 457 texts, including novels, short fiction, poetry, drama, narratives, and children's literature, and offers new insights into 19th-century working-class culture. The textile industry was the premier and largest 19th-century industry in the United States. The texts, drawn from a variety of publications, such as workers' periodicals, mainstream publishers' monographs, newspapers, magazines, story papers, dime novels, pulp publications, and Sunday-school tracts, reveal the variety and complexity of the factory literature and represent the largest body of American working-class women's literature. The literature explores a number of women's concerns, such as their roles as workers, sexual harassment, marriage, motherhood, and homosexual and heterosexual relationships, and treats the factory work experience of hundreds of thousands of 19th-century children. Annotations are divided among 14 topical chapters that highlight such key issues as women's independence, class bias, child labor, technology, and protest. Most entries include information on text availability, including microform reprints and U.S. library holdings for rare titles. Scholars of 19th-century women's literature and history will value the full picture of 19th-century factory women's lives that emerges through the synopses of the literature. This work includes the first literary depictions of and protest against child labor, the first anti-factory poem, and the first fictional depiction of a strike. The more than 50 annotated texts that treat child labor offer new source material for the study of child labor in19th-century America. Appendices furnish a chronological listing of titles, a selection of nonfiction texts, and a listing of unavailable texts.

To what extent did Charles Dickens see himself as a medium of forces beyond his conscious control? What did he think such subconscious mechanisms might be, and how did his thoughts on the subject play out in his writings? "Sensation and Sublimation in Charles Dickens" traces these questions through three Dickens novels: "Oliver Twist," "Dombey and Son," and "Bleak House." It is the first book-length study to approach Dickensian psychology from the vantage point of what the speculations of Dickens's--rather than of our own--had to say about mental phenomena, both normal and abnormal.

This book examines the dramatic work of Dickens, Browning, Collins, and Tennyson, their interaction with the theatrical world, and their attempts to develop their reputations as playwrights. These major Victorian writers each authored several professional plays, but why has their achievement been overlooked?

In late nineteenth-century Germany, the onset of modernity transformed how people experienced place. In response to increased industrialization and urbanization, the expansion of international capitalism, and the extension of railway and other travel networks, the sense of being connected to a specific place gave way to an unsettling sense of displacement. "Out of Place" analyzes the works of three major representatives of German Realism-Wilhelm Raabe, Theodor Fontane, and Gottfried Keller-within this historical context. It situates the perceived loss of place evident in their texts within the contemporary discourse of housing and urban reform, but also views such discourse through the lens of twentienth-century theories of place. Informed by both phenomenological (Heidegger and Casey) as well as Marxist (Deleuze, Guattari, and Benjamin) approaches to place, John B. Lyon highlights the struggle to address issues of place and space that reappear today in debates about environmentalism, transnationalism, globalization, and regionalism.

How is Hardy's development of thematics and characters matched by that of narrative techniques and his handling of time? This book uses narratological methods to stress the interdependence of content and expression in a key transitional writer between the Victorian and Modernist eras.

This is a student-friendly guide featuring discussion points, questions and suggestions for further study and a comprehensive guide to further reading."Emma" is one of Jane Austen's most popular novels, in large part due to the impact of Emma Woodhouse, the 'handsome, clever and rich' heroine. This lively, informed and insightful guide to "Emma" explores the style, structure, themes, critical reputation and literary influence of Jane Austen's classic novel and also discusses its film and TV versions. 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.

Scholars have long studied the impact of Charles Darwin's writings on nineteenth-century culture. However, few have ventured to examine the precursors to the ideas of Darwin and others in the Romantic period. Marking Time, edited by Joel Faflak, analyses prevailing notions of evolution by tracing its origins to the literary, scientific, and philosophical discourses of the long nineteenth century. The volume's contributors revisit key developments in the history of evolution prior to The Origin of Species and explore British and European Romanticism's negotiation between the classic idea of a great immutable chain of being and modern notions of historical change. Marking Time reveals how Romantic and post-Romantic configurations of historical, socio-cultural, scientific, and philosophical transformation continue to exert a profound influence on critical and cultural thought.

Through close examinations of diaries, diary publication, and diaries in fiction, this book explores how the diary's construction of time and space made it an invaluable and effective vehicle for the dominant discourses of the period; it also explains how the genre evolved into the feminine, emotive, private form we continue to privilege today.

The Irish Theatre in Transition explores the ever-changing Irish Theatre from its inception to its vibrant modern-day reality. This book shows some of the myriad forms of transition and how Irish theatre reflects the changing conditions of a changing society and nation.

Why were so many late-nineteenth-century homosexuals passionate about the Italian Renaissance? This book answers that question by showing how the Victorian coupling of criminality with self-fashioning under the sign of the Renaissance provided queer intellectuals with an enduring model of ruthlessly permissive individualism.

While the gender and age of the girl may seem to remove her from any significant contribution to empire, this book provides both a new perspective on familiar girls' literature, and the first detailed examination of lesser-known fiction relating the emergence of fictional girl adventurers, castaways and 'ripping' schoolgirls to the British Empire.

This study focuses on how Frankenstein works: how the story is told and why it is so rich and gripping. Part I uses carefully selected short extracts for close textual analysis, while Part II examines Shelley's life, the historical and literary contexts of the novel, and offers a sample of key criticism.

Appalled and paralyzed. Abandoned and betrayed. Cowed and bowed. Thus did Frederick Douglass describe the North in the wake of the compromise measures of 1850 that seemed to enshrine concessions to slavery permanently into the American political system. This study discovers in a feature of political anti-slavery discourse the condemnation of an enfeebled North the key to a wide variety of literary works of the 1850s. Both the political discourse and the literature set out to expose the self-chosen degradation of compromise as a threat at once to the personal foundation of each individual Northerner and to the survival of the people as an actor in history. The book fills a gap in literary criticism of the period, which has primarily focused on abolitionist discourse when relating anti-slavery thought to the literature of the decade. Though it owed a debt to the abolitionists, political anti-slavery discourse took on the more focused mission of offering a challenge to the people. Would the North submit to the version of self-discipline demanded by the Slave Power s Northern minions, or would it tap the energy of the nation s founding until it embodied defiance in its very constitution? Would the North remain a type for the future slave empire it could not prevent, or would it prophesy national freedom in the simple recovery of its own agency? Literary works in both poetry and prose were well suited to making this political challenge bear its full weight on the nation fleshing out the critique through narrative crises that brought home the personal stake each Northerner held in what George Julian called an exodus from the bondage of compromise. By the end of 1860 this exodus had been completed, and that accomplishment owed much to the massive ten year cultural project to expose the slavery-accommodating definition of nationality as a threat to the republican selfhood of each Northerner. Stowe, Whittier, Willis, and Whitman, among others, devoted their literary works to this project."

From Jewish publishers to Appalachian poets, Green s cultural study reveals the role of "Mountain Whites" in American racial history. Part One (1880-1935) explores the networks that created American pluralism, revealing Appalachia s essential role in shaping America s understanding of African Americans, Anglos, Jews, Southerners, and Immigrants. Drawing upon archival research and deft close readings of poems, Part Two (1934-1946) delves into the inner-workings of literary history and shows how diverse alliances used four books of poetry about Appalachia to change America s notion of race, region, and pluralism. Green starts with how Jesse Stuart and the Agrarians defended Southern whiteness, follows how James Still appealed to liberals, shows how Muriel Rukeyser put Appalachia at the center of anti-fascism, and ends with how Don West and the Progressives struggled to form interracial labor unions in the South.