This book explores the history of women's engagement with writing experimentally. Women writers have long used different narratives and modes of writing as a way of critiquing worlds and stories that they find themselves at odds with, but at the same time, as a way to participate in such spaces. Experimentation-of style, mode, voice, genre and language-has enabled women writers to be simultaneously creative and critical, engaged in and yet apart from stories and cultures that have so often seen them as 'other'. This collection shows that women writers in English over the past 400 years have challenged those ideas not only through explicit polemic and alternative representations but through disrupting the very modes of representation and story itself.

Limits and Languages in Contemporary Irish Women's Poetry examines the transactions between the two main languages of Irish literature, English and Irish, and their formative role in contemporary poetry by Irish women. Daniela Theinova explores the works of well-known poets such as Eavan Boland, Eilean Ni Chuilleanain, Nuala Ni Dhomhnaill, Biddy Jenkinson and Medbh McGuckian, combining for the first time a critical analysis of the language issue with a focus on the historical marginality of women in the Irish literary tradition. Acutely alert to the textures of individual poems even as she reads these against broader critical-theoretical horizons, Theinova engages directly with texts in both Irish and English. By highlighting these writers' uneasy poetic and linguistic identity, and by introducing into this wider context some more recent poets-including Vona Groarke, Caitriona O'Reilly, Sinead Morrissey, Ailbhe Darcy and Aifric Mac Aodha-this book proposes a fundamental critical reconsideration of major late-twentieth-century Irish women poets, and, by extension, the nation's canon.

Four o'clock in the morning, and the lights are on and still there's no way we're going to sleep, not after the film we just saw. The book we just read. Fear is one of the most primal human emotions, and one of the hardest to reason with and dispel. So why do we scare ourselves? It seems almost mad that we would frighten ourselves for fun, and yet there are thousands of books, films, games, and other forms of entertainment designed to do exactly that. As Darryl Jones shows, the horror genre is huge. Ranging from vampires, ghosts, and werewolves to mad scientists, Satanists, and deranged serial killers, the cathartic release of scaring ourselves has made its appearance in everything from Shakespearean tragedies to internet memes. Exploring the key tropes of the genre, including its monsters, its psychological chills, and its love affair with the macabre, Darryl Jones discusses why horror stories disturb us, and how society responds to literary and film representations of the gruesome and taboo. Should the enjoyment of horror be regarded with suspicion? Are there different levels of the horrific, and should we distinguish between the commonly reviled carnage of contemporary torture porn and the culturally acceptable bloodbaths of ancient Greek tragedies? Analysing the way in which horror manifests multiple personalities, and has been used throughout history to articulate the fears and taboos of the current generation, Jones considers the continuing evolution of the genre today. As horror is mass marketed to mainstream society in the form of romantic vampires and blockbuster hits, it also continues to maintain its former shadowy presence on the edges of respectability, as banned films and violent internet phenomena push us to question both our own preconceptions and the terrifying capacity of human nature.

The complete memoirs of a man of many talents and faces -- the late, great Spike Milligan -- affectionately recounted by his close friend and agent for 35 years, Norma Farnes. 'What's he really like?' Wherever I went and was introduced as Spike Milligan's manager I waited for the inevitable question. In not far short of thirty-six years it never altered. It wasn't one that could be answered in a few words so I generally made do with 'Interesting' or 'don't ask'... After chancing on an advertisement for a secretarial position, Norma Farnes found herself initiated into the world of Number Nine Orme Court where Spike and some of post-war's other greatest comedy writers like Eric Sykes, Johnny Speight, Ray Galton and Alan Simpson had formed a writers' cooperative. Soon promoted to be his manager, Norma was working for a man with a reputation for being brilliant and difficult in equal measure.;In this affectionate yet true account, Norma Farnes looks at the whole of Spike's life from his childhood and extraordinary family in India, his ongoing battle with his restless mind, his numerous affairs and his heartening struggles with many varied causes. She gives a mass of wonderful anecdotes and revealing insights into Spike and his circle, including, of course, his often fraught but deep friendship with Peter Sellers. In Spike, Norma Farnes has written a moving portrait of her greatest friend. Above all, Spike's fascinating, very human character is brought to life on every page.

The complete guide to the world of poetry -- from sonnets to spoken word!

Poetry For Dummies will help you understand, appreciate, and write poetry. This book is filled with hands-on exercises to get your creative juices flowing and smart tips on getting your poems published.

The Modern Irish Sonnet: Revision and Rebellion discusses how and why the sonnet appeals to Irish poets and has grown in popularity over the last century. Using a thematic approach, Tara Guissin-Stubbs argues for the significance of the Irish sonnet as a discrete entity within modern and contemporary poetry, and shows how the Irish sonnet has become a debating chamber for discussions concerning the relationship between Irish and British culture, poetry and gender, and revision and rebellion. The text reshapes the poetic and critical field, exploring canonical and non-canonical poems by male and female poets so as to challenge outmoded views of the thematic and formal limitations of the sonnet.

This book examines South Africa's post-apartheid culture through the lens of affect theory in order to argue that the socio-political project of the "new" South Africa, best exemplified in their Truth and Reconciliation Commission Hearings, was fundamentally an affective, emotional project. Through the TRC hearings, which publicly broadcast the testimonies of both victims and perpetrators of gross human rights violations, the African National Congress government of South Africa, represented by Nelson Mandela and Archbishop Desmond Tutu, endeavoured to generate powerful emotions of contrition and sympathy in order to build an empathetic bond between white and black citizens, a bond referred to frequently by Tutu in terms of the African philosophy of interconnection: ubuntu. This book explores the representations of affect, and the challenges of generating ubuntu, through close readings of a variety of cultural products: novels, poetry, memoir, drama, documentary film and audio anthology.

This book considers the English Civil Wars and the civil wars in Scotland and Ireland through the lens of historical fiction-primarily fiction for the young. The text argues that the English Civil War lies at the heart of English and Irish political identities and considers how these identities have been shaped over the past three centuries in part by the children's literature that has influenced the popular memory of the English Civil War. Examining nearly two hundred works of historical fiction, Farah Mendlesohn reveals the delicate interplay between fiction and history.

This book draws on literary, cultural, and critical examples forming a menstrual imaginary-a body of work by women writers and poets that builds up a concept of women's creativity in an effort to overturn menstrual prejudice. The text addresses key arbiters of the menstrual imaginary in a series of letters, including Sylvia Plath the initiator of 'the blood jet', Helene Cixous the pioneer of a conceptual red ink and the volcanic unconscious, and Luce Irigaray the inaugurator of women's artistic process relative to a vital flow of desire based in sexual difference. The text also undertakes provocative against-the-grain re-readings of the Medusa, the Sphinx, Little Red Riding Hood, and The Red Shoes, as a means of affirmatively and poetically re-imagining a woman's flow. Natalie Rose Dyer argues for re-envisioning menstrual bleeding and creativity in reaction and resistance to ongoing and problematic societal views of menstruation.

This comparative literature study explores how writers from across Ireland and Latin America have, both in parallel and in concert, deployed symbolic representations of the dead in their various anti-colonial projects. In contrast to the ghosts and revenants that haunt English and Anglo-American letters-where they are largely either monstrous horrors or illusory frauds-the dead in these Irish/Latinx archives can serve as potential allies, repositories of historical grievances, recorders of silenced voices, and disruptors of neocolonial discourse.

Early Modern Debts: 1550-1700 makes an important contribution to the history of debt and credit in Europe, creating new transnational and interdisciplinary perspectives on problems of debt, credit, trust, interest, and investment in early modern societies. The collection includes essays by leading international scholars and early career researchers in the fields of economic and social history, legal history, literary criticism, and philosophy on such subjects as trust and belief; risk; institutional history; colonialism; personhood; interiority; rhetorical invention; amicable language; ethnicity and credit; household economics; service; and the history of comedy. Across the collection, the book reveals debt's ubiquity in life and literature. It considers debt's function as a tie between the individual and the larger group and the ways in which debts structured the home, urban life, legal systems, and linguistic and literary forms.

This book is a study of female virginity loss and its representations in popular Anglophone literatures. It explores dominant cultural narratives around what makes a "good" female virginity loss experience by examining two key forms of popular literature: autobiographical virginity loss stories and popular romance fiction. In particular, this book focuses on how female sexual desire and romantic love have become entangled in the contemporary cultural imagination, leading to the emergence of a dominant paradigm which dictates that for women, sexual desire and love are and should be intrinsically linked together: something which has greatly affected cultural scripts for virginity loss. This book examines the ways in which this paradigm has been negotiated, upheld, subverted, and resisted in depictions of virginity loss in popular literatures, unpacking the romanticisation of the idea of "the right one" and "the right time".

This collection of essays reveals the extent to which politics is fundamental to our understanding of Samuel Beckett's life and writing. Bringing together internationally established and emerging scholars, Beckett and Politics considers Beckett's work as it relates to three broad areas of political discourse: language politics, biopolitics and geopolitics. Through a range of critical approaches, including performance studies, political theory, gender theory, historicizing approaches and language theory, the book demonstrates how politics is more than just another thematic lens: it is fundamentally and structurally intrinsic to Beckett's life, his texts and subsequent interpretations of them. This important collection of essays demonstrates that Beckett's work is not only ripe for political engagement, but also contains significant opportunities for understanding and illuminating the broader relationships between literature, culture and politics.

This book offers a bold new view of the way in which modernist fiction, painting, music, and poetry are interlinked. Dowden shows that modernism, contrary to a longstanding view, did not turn away from mimesis. Rather, modernism operates according to a deepened understanding of what mimesis is and how it works, which in turn occasions a fresh look at other related dimensions of the modernist achievement. Modernism is neither "difficult" nor elitist. Instead, it trends toward simplicity, directness, and common culture. Dowden argues that naivete rather than highbrow sophistication was for the modernists a key artistic principle. He demonstrates that modernism, far from glorifying subjective creativity, directs itself toward healing the split between subject and object. Mimesis closes this gap by resolving representation into play and festivity.

This revised volume follows the complete unabridged text as corrected in 1961. Contains the original foreword by the author and the historic court ruling to remove the federal ban. It also contains page references to the first American edition of 1934.

Virgil's great epic transforms the Homeric tradition into a triumphal statement of the Roman civilizing mission. Translated by Robert Fitzgerald.

The story of Jewish literature is a kaleidoscopic one, multilingual and transnational in character, spanning the globe as well as the centuries. In this broad, thought-provoking introduction to Jewish literature from 1492 to the present, cultural historian Ilan Stavans focuses on its multilingual and transnational nature. Stavans presents a wide range of traditions within Jewish literature and the variety of writers who made those traditions possible. Represented are writers as dissimilar as Luis de Carvajal the Younger, Franz Kafka, Bruno Schulz, Isaac Babel, Anzia Yezierska, Elias Canetti, Isaac Bashevis Singer, Irving Howe, Clarice Lispector, Susan Sontag, Philip Roth, Grace Paley, Amos Oz, Moacyr Scliar, and David Grossman. The story of Jewish literature spans the globe as well as the centuries, from the marrano poets and memorialists of medieval Spain, to the sprawling Yiddish writing in Ashkenaz (the "Pale of Settlement' in Eastern Europe), to the probing narratives of Jewish immigrants to the United States and other parts of the New World. It also examines the accounts of horror during the Holocaust, the work of Israeli authors since the creation of the Jewish State in 1948, and the "ingathering" of Jewish works in Brazil, Bulgaria, Argentina, and South Africa at the end of the twentieth century. This kaleidoscopic introduction to Jewish literature presents its subject matter as constantly changing and adapting.

This book reconstructs the lines of nihilism that Walter Benjamin took from Friedrich Nietzsche that define both his theory of art and the avant-garde, and his approach to political action. It retraces the eccentric route of Benjamin's philosophical discourse in the representation of the modern as a place of "permanent catastrophe", where he attempts to overcome the Nietzschean nihilism through messianic hope. Using conventions from literary criticism this book explores the many sources of Benjamin's thought, demonstrating that behind the materialism which Benjamin incorporates into his Theses on the Concept of History is hidden Nietzsche's nihilism. Mauro Ponzi analyses how Benjamin's Arcades Project uses figures such as Baudelaire, Marx, Aragon, Proust and Blanqui as allegories to explain many aspects of modernity. The author argues that Benjamin uses Baudelaire as a paradigm to emphasize the dark side of the modern era, offering us a key to the interpretation of communicative and cultural trends of today.

The story of four remarkable women who shaped the intellectual history of the 20th century: Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch. On the cusp of the Second World War, four women went to Oxford to begin their studies: a fiercely brilliant Catholic convert; a daughter of privilege longing to escape her stifling upbringing; an ardent Communist and aspiring novelist with a list of would-be lovers as long as her arm; and a quiet, messy lover of newts and mice who would become a great public intellectual of our time. They became lifelong friends. At the time, only a handful of women had ever made lives in philosophy. But when Oxford's men were drafted in the war, everything changed. As Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch labored to make a place for themselves in a male-dominated world, as they made friendships and families, and as they drifted toward and away from each other, they never stopped insisting that some lives are better than others. They argued that courage and discernment and justice-and love-are the heart of a good life. This book presents the first sustained engagement with these women's contributions: with the critique and the alternative they framed. Drawing on a cluster of recently opened archives and extensive correspondence and interviews with those who knew them best, Benjamin Lipscomb traces the lives and ideas of four friends who gave us a better way to think about ethics, and ourselves.

Ausgangspunkt ist die zur Literatur anderer europaischer Lander besonders ab dem 19. Jahrhundert auffallige Zuruckhaltung des deutschen Lesepublikums in der Rezeption polnischer Literatur. Dargestellt werden die allgemein bekannten, aber auch weniger bis kaum bekannten, vor allem geschichtlichen Grunde hierfur und die dann nach dem totalen Stillstand 1945 langsam einsetzenden gemeinsamen Bemuhungen, in jeder, besonders auch kultureller Hinsicht, aus dem absoluten Tiefpunkt im deutsch-polnischen Verhaltnis herauszukommen; wofur ein besseres gegenseitiges Verstandnis durch einen vertieften kulturellen Austausch, das Kennenlernen der gemeinsamen Geschichte mit Empathie und Eingehen auf die jeweils andere Mentalitat zu den wichtigsten Voraussetzungen zahlen und anzustreben sind.

This Element looks at contemporary authorship via three key authorial roles: indie publisher, hybrid author, and fanfiction writer. The twenty-first century's digital and networked media allows writers to disintermediate the established structures of royalty publishing, and to distribute their work directly to - and often in collaboration with - their readers. This demotic author, one who is 'of the people', often works in genres considered 'popular' or 'derivative'. The demotic author eschews the top-down communication flow of author > text > reader, in favor of publishing platforms that generate attention capital, such as blogs, fanfiction communities, and social media.

This open access book is a result of an extensive, ambitious and wide-ranging pan-European project focusing on the development of children and young people's cultural literacy and what it means to be European in the 21st century prioritising intercultural dialogue and mutual understanding. The Horizon 2020 funded, 3-year DIalogue and Argumentation for cultural Literacy Learning (DIALLS) project included ten partners from countries in and around Europe with the aim to centralise co-constructive dialogue as a main cultural literacy value and to promote tolerance, empathy and inclusion. This is achieved through teaching children in schools from a young age to engage together in discussions where they may have differing viewpoints or perspectives, to enable a growing awareness of their own cultural identities, and those of others. Central to the project is children's engagement with wordless picture books and films, which are used as stimuli for discussions around core cultural themes such as social responsibility, living together and sustainable development. In order to enable intercultural dialogue in action, the project developed an online platform as a tool for engagement across classes, and which this book elaborates on. The book explores themes underpinning this unique interdisciplinary project, drawing together scholars from cultural studies, civics education and linguistics, psychologists, socio-cultural literacy researchers, teacher educators and digital learning experts. Each chapter of the book explores a theme that is common to the project, and celebrates its interdisciplinarity by exploring these themes through different lenses.

Tor Classics are affordably-priced editions designed to attract the young reader. Original dynamic cover art enthusiastically represents the excitement of each story. Appropriate "reader friendly" type sizes have been chosen for each title--offering clear, accurate, and readable text. All editions are complete and unabridged, and feature Introductions and Afterwords.

This edition of Strange Case of Dr. Jekyll and Mr. Hyde includes an Introduction and Afterword by Charles L. Grant.

British lawyer Mr. Utterson had proof. Hyde was a foul, twisted, shrunken creature who had brutally stomped a little girl and beaten an old man to death--for no reason. Hyde left a trail of evil across London; the mere sight of him made stranger violent with fear and disgust...

But Hyde was Dr. Jekyll's sole heir.

And that made no sense at all. Henry Jekyll was the kindest, most civil, most respected man in England. What power could a monster like Hyde hold over Jekyll's soul? Utterson vowed to solve the mystery, and free his friend from Hyde's clutches...until his hunt led to a horror beyond blackmail, beyond extortion; to a secret so shocking, so sickening, so personal--That the sheer terror of the truth could drive men mad...

Science fiction was being written throughout the seventeenth and eighteenth centuries, but it underwent a rapid expansion of cultural dissemination and popularity at the end of the nineteenth and beginning of the twentieth century. This Element explores the ways this explosion in interest in 'scientific romance', that informs today's global science fiction culture, manifests the specific historical exigences of the revolutions in publishing and distribution technology. H. G. Wells, Jules Verne and other science fiction writers embody in their art the advances in material culture that mobilize, reproduce and distribute with new rapidity, determining the cultural logic of twentieth-century science fiction in the process.

In Lateinamerika konsolidiert sich eine sozial und wissenschaftlich relevante germanistische Szene erst dann, wenn das Angebot von Deutsch als Fremdsprache (DaF) an Schulen sich verbreitet, und sich somit die Prasenz von Deutsch in verschiedenen Bereichen der Gesellschaft quantitativ und qualitativ starkt. Im Zeichen dieser Herausforderung ist die bildungs- und sprachpolitische Dimension des Faches ein (nicht selten unreflektierter, diffuser) Bestandteil der dort praktizierten Germanistik, der das Fach wissenschaftlich befruchtet und bereichert. Ausserdem liefert Lateinamerika neue Impulse durch den konsequenten Dialog seiner Germanistik mit der Romanistik im deutschsprachigen Raum und den Nationalphilologien in den Landern des Halbkontinents. Innovative Forschungsperspektiven einer offenen, interdisziplinar angelegten DaF-Germanistik in Lateinamerika und einer internationalen Germanistik, die mit Lateinamerika allmahlich ins Gesprach kommt, stehen im Mittelpunkt dieses Bandes.