Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.
Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.
Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readersinterested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.

Neo-Victorian Freakery explores the way in which contemporary fiction, film, and television has revisited the lives of nineteenth-century freak show performers. It locates the neo-Victorian freak show as a crucial forum for debating the politics of disability, gender, sexuality and race within the genre more broadly.

This book discusses selected works by six contemporary Indian novelists writing in English - Vikram Seth, Salman Rushdie, Nayantara Sahgal, Arundhati Roy, Ruchir Joshi and Rupa Bajwa - all of whom have made the Indian nation a central theme in their fiction. All these writers respond, in varying ways, to the idea of India as united in diversity, a construct most readily associated with the nationalist vision of Jawaharlal Nehru, India's first prime minister. In considering India's past and looking towards the future, they struggle with and attempt to extend the available language of cultural diversity.

"I always thought that building] bridges is the best job there is because roads go over bridges, and without roads we'd still be like savages. In short, bridges are like the opposite of borders, and borders are where wars start." --Primo Levi, 'La chiave a stella' (The Wrench)
Primo Levi (1919-1987) was one of Italy's most distinguished writers. A survivor of the Holocaust, his memoirs on the Nazi death camps (If This Is a Man and The Truce) are internationally recognised as among the most powerful and profound testimonies to have come out of the extermination of the European Jewry.
This book is the first comprehensive introduction to Levi and his writing for English-speaking readers. The author draws attention to the literary worth of Levi's entire output -- not just the Holocaust testimonies for which he is primarily known -- and situates his works in the context of Italian culture and society from the 1920s to the 1980s. A man with many identities -- chemist, industrial manager and writer -- he tried, through his writing, to build bridges between different cultures and fields of enquiry.
General readers who are acquainted with Levi's writings will find this book fascinating, as will students and scholars of Holocaust Literature, Italian Studies and Contemporary Italian Literature.

At the heart of Christian theology lies a paradox unintelligible to other religions and to secular humanism: that in the person of Jesus, God became man, and suffered on the cross to effect humanity's salvation. In his dual nature as mortal and divinity, and unlike the impassable God of other monotheisms, Christ thus became accessible to artistic representation. Hence the figure of Jesus has haunted and compelled the imagination of artists and writers for 2,000 years. This was never more so than in the 20th Century, in a supposedly secular age, when the Jesus of popular fiction and film became perhaps more familiar than the Christ of the New Testament. In Re-Writing Jesus: Christ in 20th Century Fiction and Film Graham Holderness explores how writers and film-makers have sought to recreate Christ in work as diverse as Anthony Burgess's Man of Nazareth and Jim Crace's Quarantine, to Martin Scorsese's The Last Temptation of Christ and Mel Gibson's Passion of the Christ. These works are set within a longer and broader history of 'Jesus novels' and 'Jesus films', a lineage traced back to Ernest Renan and George Moore, and explored both for their reflections of contemporary Christological debates, and their positive contributions to Christian theology. In its final chapter, the book draws on the insights of this tradition of Christological representation to creatively construct a new life of Christ, an original work of theological fiction that both subsumes the history of the form, and offers a startlingly new perspective on the biography of Christ.

"Rereading B.S. Johnson" offers a thorough introduction to the innovative work of the controversial British writer acclaimed in the 1960s and early 1970s. Growing academic interest and the republication of his major works have been reinforced by Jonathan Coe's award-winning biography "Like A Fiery Elephant" (2004). With a preface by Coe, this collection, co-edited by two leading Johnson scholars, offers an annotated bibliography, a chronology and original readings of the author and his work in fourteen new essays.

Although the dramatic dimension to Joseph Conrad's fiction is frequently acknowledged, his own experiments in drama have traditionally been marginalized. However, in all of Conrad's plays we see a distinct effort to investigate seriously the dramatic form and some of his plays are startlingly ahead of their time. Furthermore, all of the plays are adaptations and comprise One Day More , based on Tomorrow , Laughing Anne , based on Because of the Dollars, Victory: A Drama and The Secret Agent . The creation of these reveals much about the history, theory and practice of this fascinating cultural process.

'Rich girl meets poor boy who liberates her then dies.' Or, 'low-life girl is trashed by lower-life boy.' The contemporary middle-class fictions of poverty that inform films such as "Titanic" and "Kids" are a far cry from the nineteenth-century genres: rags-to-riches stories and seduction tales. Our fictions of class turn the older tales upside down. By the surprising juxtaposition of recent films and the classic writings and unusual lives of Zora Neale Hurston, Stephen Crane, Henry Miller, and Michel Foucault, the book shocks the reader into a reappraisal of these authors' works and lives, our myths about class, and poststructural theory.

Norman Gottwald's monumental The Tribes of Yahweh caused an immediate sensation when first published in 1979, and its influence has continued to be felt, both in the area of biblical politics and in the application of sociological methods to the Hebrew Bible. This book reflects on the impact and the implications of the work after twenty years. The distinguished contributors are David Jobling, Frank Frick, Charles Carter, Carol Meyers, Jacques Berlinerblau, Itumeleng Mosala, Gerald West, Roland Boer and, in a response to contributors as well as an interview with the editor, Norman Gottwald himself.

The essays in this volume provide an overview and critical account of prevalent trends and theoretical arguments informing current investigations into literary treatments of motherhood and aging. They explore how two key stages in women's lives-maternity and old age-are narrated and defined in fictions and autobiographical writings by contemporary French and francophone women. Through close readings of Maryse Conde, Helene Cixous, Zahia Rahmani, Linda Le, Pierrette Fleutieux, and Michele Sarde, among others, these essays examine related topics such as dispossession, female friendship, and women's relationships with their mothers. By adopting a broad, synthetic approach to these two distinct and defining stages in women's lives, this volume elucidates how these significant transitional moments set the stage for women's evolving definitions (and interrogations) of their identities and roles.

By concentrating on Sam Shepard's visual aesthetics, Emma Creedon argues that a consideration of Shepard's plays in the context of visual and theoretical Surrealism illuminates our understanding of his experimental approach to drama.

"Race and White Identity in Southern Fiction" explores a form of racial passing that has gone largely unnoticed. Duvall makes visible the means by which southern novelists repeatedly imagined their white characters as fundamentally black in some sense. Beginning with William Faulkner, Duvall traces a form of figurative and rhetorical masking in twentieth-century southern fiction that derives from whiteface minstrelsy. In the fiction of such subsequent writers as Flannery O'Connor, John Barth, Dorothy Allison, and Ishmael Reed, the reader sees characters who present a white face to the world, even as they unconsciously perform cultural blackness. These queer performances of race repeatedly reveal that being merely Caucasian is insufficient to claim Southern Whiteness.

This book sets out to write nothing short of a new theory of the heroic for today's world. It delves into the "why" of the hero as a natural companion piece to the "how" of the hero as written by Northrop Frye and Joseph Campbell over half a century ago. The novels of Saul Bellow and Don DeLillo serve as an anchor to the theory as it challenges our notions of what is heroic about nymphomaniacs, Holocaust survivors, spurious academics, cult followers, terrorists, celebrities, photographers and writers of novels who all attempt to claim the right to be "hero."

What does modern British and Irish literature have to do with French impressionist painting? And what does Henry James have to do with the legal dispute between John Ruskin and J.M.W. Whistler? What links Walter Pater with Conrad's portrait of a genocidal maniac in Heart of Darkness? Or George Moore with Irish nationalism, Virginia Woolf with modern distraction, and Ford Madox Ford with the Great Depression?
Adam Parkes argues that we must answer such questions if we are to appreciate the full impact of impressionist aesthetics on modern British and Irish writers. Complicating previous accounts of the influence of painting and philosophy on literary impressionism, A Sense of Shock highlights the role of politics, uncovering new and deeper linkages. In the hands of such practitioners as Conrad, Ford, James, Moore, Pater, and Woolf, literary impressionism was shaped by its engagement with important social issues and political events that defined the modern age. As Parkes demonstrates, the formal and stylistic practices that distinguish impressionist writing were the result of dynamic and often provocative interactions between aesthetic and historical factors.
Parkes ultimately suggests that it was through this incendiary combination of aesthetics and history that impressionist writing forced significant change on the literary culture of its time. A Sense of Shock will appeal to students and scholars of nineteenth- and twentieth-century literature, as well as the growing readership for books that explore problems of literary history and interdisciplinarity.

Since its publication in 1985, Annie John has become one of the most widely taught novels in American high schools. Part of its appeal lies in its unique setting, the island of Antigua. This interdisciplinary collection of 30 primary documents and commentary will enrich the reader's understanding of the historical, social, and cultural contexts of the novel. Among the topics examined are slavery in the Caribbean, the various religions in the Caribbean islands, the controversy over Christopher Columbus, family life in Antigua, and emigrations from the West Indies to the United States. Sources include newspaper and magazine articles, editorials, first-person narratives and memoirs of life in the Caribbean, letters, and position papers. Most of the documents are not readily available in any other printed form. A literary analysis of Annie John examines the novel in light of its historical, social, and cultural contexts and as a coming-of-age novel. Each chapter concludes with study questions and topics for research papers and class discussion based on the documents in the chapter, and lists of further reading for examining the themes and issues raised by the novel. This casebook is valuable to students and teachers to help them understand the setting of the novel, its themes, and its young heroine.

The latest in a renowned research-level series, this volume focuses on Yeats's multifarious (especially occult) reading and his iconography. Closely examining the making of his work - a new unfinished play for dancers is presented - the volume turns to his immediate influence in Japan via Yone Noguchi and in England on the work of Dorothy Wellesley, as well as to his legacy in the elegiac poems of W.H. Auden and Seamus Heaney.

While much of the critical discussion about the emerging genre of 9/11 fiction has centred on the trauma of 9/11 and on novels by EuroAmerican writers, this book draws attention to the diversity of what might be meant by "post" -9/11 by exploring the themes of uncanny terror through a close reading of four "post" -9/11 South Asian diasporic fictions.

"Cultivating Allegiance argues that British representations of America, Americans, and Anglo-American relations at the turn of the twentieth century provided an important forum for promoting the improving effects of culture, particularly literature. Analyzing America provided an indirect form of self-scrutiny for British writers and readers, safely insulated by the superiority invoked by critiquing American difference. Operating within a reflexive transatlantic print culture, writers crafted cultivated personae as markers of an ideal Britishness. In so doing, they deployed a variety of images of the United States as counterparts to their visions of these ideals. Thus, British representations of America provide an important linkage between nineteenth and twentieth century visions of British culture and national identity"--Provided by publisher.

This sophisticated book argues that human rights literature both helps the persecuted to cope with their trauma and serves as the foundation for a cosmopolitan ethos of universal civility-a culture without borders. Michael Galchinsky maintains that, no matter how many treaties there are, a rights-respecting world will not truly exist until people everywhere can imagine it. The Modes of Human Rights Literature describes four major forms of human rights literature: protest, testimony, lament, and laughter to reveal how such works give common symbolic forms to widely held sociopolitical emotions.

"Manipulating Masculinity" uses literature from World War I, World War II, the Vietnam War, and the Iraq wars to argue that when a society labels broadly human traits "feminine," that society can more easily manipulate men to war. All men are bound to detect some of those traits in themselves--and then fear that they have strayed into a feminine, inferior realm. If a society convinces men that fighting is essentially manly, it entices men to war simply to prove that they are not their sisters (sissy, wimp, wuss). Western cultural attitudes toward sex also fuel wars by encouraging the displacement of sexuality into violence, by fostering titillation in combination with guilt and its accompanying need for self-punishment (which war abundantly supplies), and by defining sexual orientations so as to provoke self-doubt in everyone.

"This is the first sustained study of Samuel Beckett and testimony. It offers new readings of the problem of unspeakability in Beckett in relation to testimonial expression and the problems of knowledge which arise in recent theoretical conceptions of testimony and the archive"--

Appropriation emerged during the Celtic Revival as a singular mode of engaging with the Shakespearean text to conceptualise and frame national identities in Ireland using the English language. With The Celtic Revival in Shakespeare's Wake, Adam Putz has examined the ways in which the discourse of Anglo-Irish cultural politics shaped the Shakespeares of Matthew Arnold, Edward Dowden, and W. B. Yeats. His close readings underscore the instability of the binary oppositions upon which these writers relied to predicate their appropriations. However, Putz finds in James Joyce an urgent concern for the pernicious manner in which the discourse of Anglo-Irish cultural politics mediated the relationship with Shakespeare for a generation of Irish men and women. Therefore, Putz reconsiders periodization and literary inheritance, the nation and modernity in order to point up the contingency of those values located in and imposed upon Shakespeare during the Revival.

This book reveals a "female sexual economy" in the marketplace of contemporary short fiction which locates a struggle for sexual power between mothers and daughters within a larger struggle to pursue that to pursue that object of the American dream: "whiteness."

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American literature. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Den Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection and endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Soren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus.

This volume undertakes a fundamental reassessment of utopianism during the modernist period. It charts the rich spectrum of literary utopian projects between 1885 and 1945, and reconstructs their cultural work by locating them in the material 'spaces' in which they originated. The book brings together work by leading academics and younger scholars.