Tony Pastor, a vaudeville performer and manager, was known as the Dean of Vaudeville. He is credited with cleaning up the bawdy variety shows of the mid 1800s, resulting in their appeal to women and the middle classes. He opened his first vaudeville house in 1865 and continued to present shows at a series of New York houses until shortly before his death in 1908. He achieved his greatest hits with parodies of Gilbert and Sullivan operettas, but he also presented parodies, or burlesques, of Shakespearean productions and those of contemporary authors, as well as melodramatic works in the popular style of the day. The plays, or afterpieces, and the function they served for both the audience and the theatre, are examined within the context of the culture and conditions under which the plays were written. Thirteen plays are included, each preceded by a production history. Issues addressed in each play are analyzed, such as prevailing societal attitudes, including those toward class and gender. Discourse on the parodies includes an examination of the original play, detailing the reasons why particular sections were chosen to parody.

This examination of Tony Pastor's scripts will appeal to theatre scholars, especially those interested in vaudeville, since until recently the plays were mostly kept in private collections. Students of American culture, particularly culture at the turn of the century, will find valuable material in the plays as they shed light on the daily life of the lower and middle classes, and subsequently on the issues that concerned them. Since the plays were formerly not widely available, this study, including the texts of the original scripts, provides a valuable resource to scholars as well as to those with a general interest in the theatre and vaudeville.

The Gothic Wanderer Rises Eternal in Popular Literature
From the horrors of sixteenth century Italian castles to twenty-first century plagues, from the French Revolution to the liberation of Libya, Tyler R. Tichelaar takes readers on far more than a journey through literary history. The Gothic Wanderer is an exploration of man's deepest fears, his eff orts to rise above them for the last two centuries, and how he may be on the brink finally of succeeding.
Tichelaar examines the figure of the Gothic wanderer in such well-known Gothic novels as "The Mysteries of Udolpho," "Frankenstein," and "Dracula," as well as lesser known works like Fanny Burney's "The Wanderer," Mary Shelley's "The Last Man," and Edward Bulwer-Lytton's "Zanoni." He also finds surprising Gothic elements in classics like Dickens' "A Tale of Two Cities" and Edgar Rice Burroughs' "Tarzan of the Apes." From Matthew Lewis' "The Monk" to Stephenie Meyer's "Twilight," Tichelaar explores a literary tradition whose characters refl ect our greatest fears and deepest hopes. Readers will find here the revelation that not only are we all Gothic wanderers--but we are so only by our own choosing.
Acclaim for "The Gothic Wanderer"
""The Gothic Wanderer" shows us the importance of its title figure in helping us to see our own imperfections and our own sometimes contradictory yearnings to be both unique and yet a part of a society. The reader is in for an insightful treat."
--Diana DeLuca, Ph.D. and author of Extraordinary Things
"Make no mistake about it, The Gothic Wanderer is an important, well researched and comprehensive treatise on some of the world's finest literature."
--Michael Willey, author of Ojisan Zanoni
About the Author
Tyler R. Tichelaar holds a Ph.D. in Literature from Western Michigan University. He has lectured on writing and literature at Clemson University, the University of Wisconsin, and the University of London. Tichelaar is the author of numerous historical novels, including The Marquette Trilogy (composed of Iron Pioneers, The Queen City, and Superior Heritage) the award-winning Narrow Lives, and Spirit of the North: a paranormal romance. His other scholarly works include King Arthur's Children: a Study in Fiction and Tradition
Foreword by Marie Mulvey-Roberts, Ph.D.
Learn more at www.GothicWanderer.com
From Modern History Press www.ModernHistoryPress.com
Literary Criticism: Gothing & Romance
Literary Criticism: European - General

While most people know that Harriet Beecher Stowe's famous book Uncle Tom's Cabin spurred on abolotionist sentiments in the North, not many are aware of the vast abolitionist literature of children's books, poems, short stories, and essays. Many of these volumes were not written by seasoned authors, but by women whose primary roles were as mothers who functioned as domestic abolitionists, and have been lost to the ages. Here, De Rosa recovers a collection of these writings, illustrating the domestic abolitionists' efforts While most people know that Harriet Beecher Stowe's famous book Uncle Tom's Cabin spurred on abolitionist sentiments in the North, not many are aware of the fast abolitionist literature of children's books, poems, short stories, and essays. Many of these volumes were written by domestic women, not seasoned authors, and have been lost to the ages. Here, De Rosa recovers a collection of these writings, illustrating the domestic abolitionists' efforts when cultural imperatives demanded women's silence. These women asserted their anti-slavery sentiments through the voices of victims (slave children and mothers), white mother-historians, and abolitionist children in juvenile literature, one of the few genres available to female authors of the period. This collection restores the voices of these little known authors and shows how their voices helped to influence children and adults of the period. For women struggling to find a voice in the abolitionist movement while maintaining the codes of gender and respectability, writing children's literature was an acceptable strategy to counteract the opposition. By seizing the opportunity to write abolitionist juvenile literature, domestic abolitionists maintained their identities as exemplary mother-educators, preserved their claims to femininity,and simultaneously entered the public arena. By adapting literary strategies popular in nineteenth-century juvenile narratives, domestic novels, and slave narratives to document slavery's violation of religious, economic, and political principles, these women spoke out against and institution that stood in marked contrast to the beliefs they held so dear. This anthology aims to fill the important gap in our understanding of women's literary productions about race and gender and illustrates the limitations of a canon that excludes such voices.

This volume is a posthumous revised edition of selected papers by Andrzej Kopcewicz on intertextual transactions in classic works of American and Irish fiction, published originally between 1992 and 2005. The book opens with a theoretical essay and proceeds with individual analyses of the interrelatedness, overlappings, entanglements, and reciprocities of some of the best-known works by Paul Auster and Herman Melville - Henry Adams, Frank R. Stockton and Thomas Pynchon - Donald Barthelme and James Joyce - James Joyce, Flann O'Brien and Gilbert Sorrentino. The chapters lend themselves to being read in any order, selectively, and in isolation. Given a literal perspective by incongruity, however, the Joycean premise of the book is that a commodius vicus of recirculation (type by tope, letter from litter, word at ward) may bring the reader in any case (back) to the beginning.

This groundbreaking collection of essays represents Herman Melville as an artist for whom questions of sensation, pleasure, and form cannot be separated from philosophical and political concerns. Contributors offer original and provocative readings that span Melville's career and engage the resurgence of interest among literary scholars in aesthetics. The first of its kind, this collection returns us to the particularities of Melville's extraordinarily varied works and transforms the subject of aesthetics into an invigorating and unpredictable source of interpretive energy.

Victorian writer Frances Trollope has largely been relegated to a mere footnote in literary history as simply the mother of Anthony. Equally unfortunate is that, aside from her nonfiction work "Domestic Manners of the Americans," her 34 novels have been out of print since the nineteenth century. She was, nonetheless, the most provocative female writer of the early Victorian period who used the novel to impel social change. She has been credited for writing the first anti-slavery novel that predates "Uncle ToM's Cabin," along with a number of works that incited reform legislation regarding bastardy clauses, poor laws, and labor conditions.

Expert contributors examine her life and writings, her social activism, and the impact of her works. The book includes discussions of her influence on Anthony Trollope, the rivalry between Frances Trollope and Charles Dickens, her belief in the power of female friendship, her ambivalence toward the ability of women to effect social change, her thoughts on Evangelicalism, her views on women and aging, and her innovative contribution to early crime fiction. Contributors argue for the value of reprinting her novels and travel books and point to her enduring literary legacy.

A diverse and multinational volume, this book showcases the passages of Joseph Conrad's narratives across geographical and disciplinary boundaries, focusing on the transtextual and transcultural elements of his fiction. Featuring contributions from distinguished and emergent Conrad scholars, it unpacks the transformative meanings which Conrad's narratives have achieved in crossing national, cultural and disciplinary boundaries. Featuring studies on the reception of Conrad in modern China, an exploration of Conrad's relationship with India, a comparative study of the hybrid art of Conrad and Salman Rushdie, and the responses of Conrad's narratives to alternative media forms, this volume brings out transtextual relations among Conrad's works and various media forms, world narratives, philosophies, and emergent modes of critical inquiry. Gathering essays by contributors from Canada, Hong Kong, India, Japan, Norway, Poland, Taiwan, the United Kingdom, and the United States, this volume constitutes an inclusive, transnational networking of emergent border-crossing scholarship.

This study shows how poets worked within and against the available forms of nature writing to challenge their place within physical, political, and cultural landscapes. Looking at the treatment of different ecosystems, it argues that writing about the environment allowed labouring-class poets to explore important social and aesthetic questions.

Romanticism and the City explores how late eighteenth and early nineteenth century literature conceptualized urban space. Fresh readings of key texts show how Romantic concerns with urban life shaped both individual works and broad theoretical issues in European Romanticism at large.

Criticism has traditionally fixed Austen's "oeuvre" within the ideological locus of the 1790s, ignoring the more topical attributes that her novels display. Such accounts have consequently neglected the complex engagements that took place between Austen's fiction and early nineteenth-century fiction. Informed by a macrocosmic sense of the Romantic-era novel market and a microcosmic analysis of intertexual dynamics, "Jane Austen and the Popular Novel" provides a fresh and alternative perspective on the mature fiction of Jane Austen.

Women in the nineteenth century wrote--prolifically and memorably. The original and provocative essays in this collection address a variety of aspects of the life and literature of nineteenth-century writers of distinction, who happened to be women and sometimes wrote from a women's point of view, but who always reflected the world in which they lived. The majority of the contributions are devoted to detailed analysis of the themes in the literature itself, primarily in the areas of intellectual conditioning, male-female relationships, social imperatives, and spiritual questions. The collection as a whole provides a framework for twentieth-century readers so that they may draw instructive conclusions about women's lives in the previous century.

Charles Dickens in Cyberspace opens a window on a startling set of literary and scientific links between contemporary American culture and the nineteenth-century heritage it often repudiates. Surveying a wide range of novelists, scientists, filmmakers, and theorists from the past two centuries, Jay Clayton traces the concealed circuits that connect the telegraph with the Internet, Charles Babbage's Difference Engine with the digital computer, Frankenstein's monster with cyborgs and clones, and Dickens' life and fiction with all manner of contemporary popular culture--from comic books and advertising to recent novels and films. In the process, Clayton argues for two important principles: that postmodernism has a hidden or repressed connection with the nineteenth-century and that revealing those connections can aid in the development of a historical cultural studies. In Charles Dickens in Cyberspace nineteenth-century figures--Jane Austen, Charles Darwin, Charles Dickens, Thomas Hardy, Henry James, Ada Lovelace, Joseph Paxton, Mary Shelley, and Mary Somerville--meet a lively group of counterparts from today: Andrea Barrett, Greg Bear, Peter Carey, Helene Cixous, Alfonso Cuaron, William Gibson, Donna Haraway, David Lean, Richard Powers, Salman Rushdie, Ridley Scott, Susan Sontag, Neal Stephenson, Bruce Sterling, and Tom Stoppard. The juxtaposition of such a diverse cast of characters leads to a new way of understanding the "undisciplined culture" the two eras share, an understanding that can suggest ways to heal the gap that has long separated literature from science. Combining storytelling and scholarship, this engaging study demonstrates in its own practice the value of a self-reflective stance toward cultural history. Its personal voice, narrative strategies, multiple points of view, recursive loops, and irony emphasize the improvisational nature of the methods it employs. Yet its argument is serious and urgent: that the afterlife of the nineteenth century continues to shape the present in diverse and sometimes conflicting ways.

"Wuthering Heights" is studied by first-year undergraduates worldwide but students often find it difficult to approach the novel's characters in a sophisticated way; typically dwelling on the relationship between Heathcliff and Catherine, but without getting to grips with Bronte's complex development of these characters. Students also often forget that this novel, which is stereotyped as a novel about doomed love on the solitary Yorkshire moors, is in fact peopled with a large cast of idiosyncratic characters, each of whom plays an important part in the plot. Engaging with these characters will allow students to come to a better understanding of the themes, issues and context of "Wuthering Heights"."Character Studies" aims to promote sophisticated literary analysis through the concept of character. It demonstrates the necessity of linking character analysis to texts' themes, issues and ideas, and encourages students to embrace the complexity of literary characters and the texts in which they appear. The series thus fosters close critical reading and evidence-based discussion, as well as an engagement with historical context, and with literary criticism and theory.

Offering a revolutionary way of reading 19th-century slave narratives, Fishburn seeks to recover the philosophical foundations of African American literature. Underlying slave narrative is an expression of the problem of physical embodiment; that is, the dualistic thinking of the mind-body division. Fishburn's work uncovers the tension between needing to acknowledge the fact of human embodiment and wishing to overcome its consequences in a racist society. One of the strongest points made by this pioneering work is the controversial claim that these slave narratives offer one of the most telling, if largely overlooked, pre-Heideggerian critiques of liberal humanism ever attempted in the West.

This is a print-culture study of canon formation during the English Romantic era, with chapters on W.H. Ireland's Shakespeare forgeries, Wordsworth's Gothic, Coleridge, the philosophical romance, and Barbauld.It is original and provocative - challenges the traditional notion of the history of 'Romanticism'. It offers new perspectives on well-studied writers of the period (Coleridge, Wordsworth, Austen, Scott and Defoe), as well as less well-known figures such as the Shakespeare forger W. H. Ireland. It gives an extensive account of the relationship between Romanticism and the public sphere. It provides new theory of the Romantic-era novel.This book explores the false starts and disturbances of Romantic writing in Britain - 'misfits' and misfittings - as both a constitutive challenge to canonical romanticism and a distinctive literary field worth examining on its own account. Misfits include the Shakespeare forger W.H. Ireland, the novel itself, and the culture of Dissent.

Prosecuted for obscenity in her novel Monsieur Venus, Marguerite Eymery (pen name Rachilde), an apparently genteel young woman from a provincial bourgeois family, burst onto the French literary scene in 1884 amid scandal. This story of a sadistic transvestite and her pretty male lover was the first in a long series of novels, plays and stories dealing often in the most macabre and sensationalistic terms with sadism, gender inversion, and sexual desire.
At the heart of the French literary world, Rachilde's life and writing defied patriarchal rules, particularly in relation to female sexuality, but she consistently and vehemently rejected feminism. Her extraordinary life and work, including a vast output as a literary reviewer, offer a prism through which to view the vibrant social and cultural history of France from the belle epoque to the Second World War. This book is the first serious critical study of Rachilde's work. Exploring the interwoven themes of French naturalism, modernism, decadence and feminism, it will be essential reading for anyone interested in French culture, literature and sexuality at the turn of the twentieth century.

Who was the early twentieth-century masculine middlebrow reader? How did his reading choices respond to his environment? This book looks at British middlebrow writing and reading from the late Victorian period to the 1950s and examines the masculine reader and author, and how they challenged feminine middlebrow and literary modernism.

Romantic Englishness investigates how narratives of localised selfhood in English Romantic writing are produced in relation to national and transnational formations. This book focuses on autobiographical texts by authors such as John Clare, Samuel Taylor Coleridge, William Hazlitt, Charles Lamb, and William Wordsworth.

Traces the career of the widely read cultural historian Johannes Scherr and his development of a new kind of historical writing for the increasingly globalized 19th-century world. The German nineteenth century saw a boom in publishing and reading that created opportunities not only for Dichter, creators of great literature, but also for Schriftsteller, authors of the second rank. Among the latter were cultural mediators who helped readers negotiate the ever-expanding galaxy of print. Few achieved greater prominence than Johannes Scherr, whose remarkable career as a critic, anthologist, and historian of German and world literature began in the turbulent Vormarz era and continued during years of exile in the unlikely setting of the Zurich Polytechnic. He wrote from the vantage point of Switzerland, but his books were published in Germany, where his polemical style found favor. Andrew Cusack's study traces the process of Scherr's literary socialization as mediator in the "contact zone" formed by the Kingdom of Wurttemberg and Switzerland, whose liberal project of Volksbildung inspired him. It considers how his liminal position between nations and between the humanities and the sciences led him to develop a form of historical authorship for the increasingly globalized nineteenth century. The book considers Scherr's engagement with the totalizing paradigms of cultural history and world literature and sets his pessimistic worldview in the context of the materialism and violent political agitation that threatened democratic values in Switzerland and elsewhere.

Historical Writing in Britain, 1688-1830 explores a series of debates concerning the nature and value of the past in the long eighteenth century. The essays investigate a diverse range of subjects including art history, biography, historical poetry, and novels, as well as addressing more conventional varieties of historical writing.

The ten chapters of "Proverbs Speak Louder Than Words" present a composite picture of the richness of proverbs as significant expressions of folk wisdom as is manifest from their appearance in art, culture, folklore, history, literature, and the mass media. The first chapter surveys the multifaceted aspects of paremiology (the study of proverbs), with the second chapter illustrating the paremiological work by the American folklorist Alan Dundes. The next two chapters look at the effective role that proverbs play in the mass media, where they are cited in their traditional wording or as innovative anti-proverbs. The fifth chapter discusses proverbs as expressions of the worldview of New England. This is followed by two chapters on the proverbial prowess of American presidents, to wit the proverbial style in the correspondence between John and Abigail Adams and a discussion of Abraham Lincoln's apocryphal proverb "Don't swap horses in the middle of the stream." The eighth chapter traces the tradition of proverb iconography from medieval woodcuts to Pieter Bruegel the Elder and on to modern caricatures, cartoons, and comic strips. The last two chapters deal with the origin and history of the proverbial expression "to tilt at windmills" as an allusion to Cervantes' Don Quixote and the many proverbial utterances in Mozart's letters. The book draws attention to the fact that proverbs as metaphorical signs continue to play an important role in oral and written communication. Proverbs as socalled monumenta humana are omnipresent in all facets of life, and while they are neither sacrosanct nor saccharine, they usually offer much common sense or wisdom based on recurrent experiences and observations.

This rich and varied collection of essays by scholars and interviews with artists approaches the fraught topic of book destruction from a new angle, setting out an alternative history of the cutting, burning, pulping, defacing and tearing of books from the medieval period to our own age.

This book re-reads the tangled relations of book culture and literary culture in the early nineteenth century by restoring to view the figure of the bookman and the effaced history of his book clubs. As outliers inserting themselves into the matrix of literary production rather than remaining within that of reception, both provoked debate by producing, writing, and circulating books in ways that expanded fundamental points of literary orientation in lateral directions not coincident with those of the literary sphere. Deploying a wide range of historical, archival and literary materials, the study combines the history and geography of books, cultural theory, and literary history to make visible a bookish array of alterative networks, genres, and locations that were obscured by the literary sphere in establishing its authority as arbiter of the modern book.

This book is a critical study of visual representations of Jose Marti-The National Hero of Cuba-, and the discourses of power that make it possible for Marti's images to be perceived as icons today. It argues that an observer of Marti's icons who is immersed in the Cuban national narrative experiences a retrospective reconstruction of those images by means of ideologically formed national discourses of power. Also, the obsessive reproduction of Marti's icons signals a melancholia for the loss of the martyr-hero. But instead of attempting to forget Marti, the book concludes that the utopian impulse of his memory should serve to resist melancholia and to visualize new forms of creative re-significations of Marti and, by extension, the nation. Contents: Gaze, Intentionality, and Manipulation Battling for the National Icon The Filming of a Memory Melancholia for Marti Afterthoughts: Resisting Cuban Melancholia