Old Norse texts offer many different ideas about what it is to be female, presenting women who occupy diverse social and economic positions or who have varying racial origins. Covering a much wider range of texts than have previous studies, this book presents a comprehensive and ground-breaking analysis of women in Old Norse literature. Raising new, probing questions, generated by theoretical insights from comparative studies, and from feminist, queer, monster and speech act theory, Johanna Katrin Frioriksdottir explores the many ways in which medieval Icelandic sagas construct the relationship between women and power. Illuminating the preoccupations, desires, and anxieties of the sagas' authors and audiences, this book offers excitingly fresh perspectives on how Icelandic prose genres mediate medieval attitudes to women, power, social organization, and ideal human behavior.

This new book on the Brontes concentrates on the way in which the literary interests and expressions of Charlotte and Emily were built up. It makes use of recent research into background and reading matter to investigate the development of the authors' poetry and novels.

Fairy Tales, Natural History and Victorian Culture examines how literary fairy tales were informed by natural historical knowledge in the Victorian period, as well as how popular science books used fairies to explain natural history at a time when 'nature' became a much debated word.

"Queer Narratives of the Caribbean Diaspora: Exploring Tactics" combines the fields of queer and diasporic writing. It opens up an entire new domain where social and cultural meanings of sexuality within Caribbean space become objects of historical, colonial and literary investigations. By juxtaposing queerness, nation and belonging, this book unlocks both disciplines, making them permeable to other contexts and perspectives. Exploring the works of writers such as Shani Mootoo, Jamaica Kincaid and Lawrence Scott, this book investigates the Western notions of sexual identity and belongingness alongside postcolonial deployments of nation, diaspora and sexuality. The book adds to the abundant fields of queer and diaspora studies by intersecting them, in order not only to render their ability to work together but also to expose their weaknesses and highly contested underpinnings.

"Investigating modern art, literature, theory and the law, this book illustrates the different ways in which sex, gender and time intersect. It demonstrates that time offers new critical perspectives on sex and gender and makes problematic reductive understandings of sexual identity as well as straight and queer time"--

Sterne's work has been received, translated and imitated in most European countries with great success. Interest in his life and work grew into a literary cult at an early stage and led to the vogue of sentimentalism: Sterne became a legendary English writer, second only to Shakespeare. Among the topics discussed in this volume are: questions arising from the serial nature of much of Sterne's writings; the various ways in which translators all across Europe coped with the specific problems which the witty and ingenious Sternean text poses; the extent to which especially "A sentimental Journey" was regarded as a provocative political text and was therefore used as a weapon in nationalist movements; how "Tristram Shandy" became a test case for theories of humour and sentiment; how Sterne's texts and the "Letters" were used as didactic tools; how the history of the reception of Sterne mirrors the continental shift from a French cultural paradigm to a German and English one; and how the cult of Maria materialized in prints, paintings and ceramics. Trans-national patterns are emphasized, as are the impact of Sterne on European sentimentalism and modernist narrative theory.

The author of such works as "A Brighter Sun" (1952), "The Lonely Londoners" (1956), and "The Plains of Caroni" (1970), West Indian novelist Samuel Selvon is attracting growing amounts of scholarly attention. Nonetheless, criticism of his works has largely been imbalanced, with most scholarship focusing primarily on his language. This book corrects that imbalance by placing Selvon's novels within historical, sociological, and ideological contexts. A new interpretation of Selvon's achievement as a novelist, the volume looks, for the first time, at his works in terms of categories of novels--peasant, middle-class, and immigrant.

The book demonstrates that each category is different from the others, and that novels within categories are similar. Thus it provides a coherent vision of Selvon's canon. It illustrates, as well, the development of Selvon's philosophy of West Indians as peasant, bourgeois, and immigrant. In doing so, it explores the significance of ethnicity in his works and discusses Selvon's imaginative apotheosis of the Indo-Trinidadian peasant and the diminution of the Afro-Trinidadian immigrant. The volume also studies Selvon's fictional and rhetorical techniques and argues that his works range from Bildungsroman to picaresque to epic to satire.

Iris Murdoch: The Retrospective Fiction traces the preoccupation in Murdoch's fiction with the way the past makes its mark upon us, haunting us and eluding our attempts to grasp it. This argument was given an extra resonance by the death of Murdoch after Alzheimer's disease in 1999, when the book was first published - a curious blurring of life and work typical of the posthumous reassessment of Murdoch. This new edition includes detailed readings of novels not discussed in the original ( The Bell, The Sacred and Profane Love Machine , and The Philosopher's Pupil ) and includes a new preface, an updated bibliography and three new chapters covering Murdoch's most important and popular novels, considering in more depth her relationship with the dominant literary and intellectual currents of her time.

The first extensive study of gay and lesbian historical fiction, this book demonstrates how the highly popular genre helps us understand gay and lesbian history. It shows not only why the genre should be taken more seriously by historians but also how it implicitly works to ameliorate divisions between Christianity and homosexuality. The book contends that gay and lesbian historical fictions model ways of approaching sexual and historical mystery not as a threat to understanding but as its ground. These fictions thus implicitly undermine the supposed dichotomy between secular and sacred ways of knowing, thereby expanding the resources for ethical debate about homosexuality.

Jag is ’n avontuur wat jou wegvoer van vier mure na die oop ruimtes van groot Afrika en jou laat kennis maak met ontbering en volharding, met lekker spog en lekker eet. En die oog, die kamera en die sakboekie vervang nie in een dag die jagroer nie. P.J. Schoeman se naam was vir geslagte Afrikaanslesers sinoniem met verhale waarin natuurkennis en natuurgevoeligheid saampraat. Vir diegene wat as jong lesers met Schoeman kennis gemaak het, sal die lees van hierdie hersiene heruitgawe ’n nostalgiese ervaring wees – ’n erfenis om aan vandag se jong lesers oor te dra.

Charlotte Bronte: legacies and afterlives is a timely reflection on the persistent fascination and creative engagement with Charlotte Bronte's life and work. The new essays in this volume, which cover the period from Bronte's first publication to the twenty-first century, explain why her work has endured in so many different forms and contexts. This book brings the story of Charlotte Bronte's legacy up to date, analysing the intriguing afterlives of characters such as Jane Eyre and Rochester in neo-Victorian fiction, cinema, television, the stage and, more recently, on the web. Taking a fresh look at 150 years of engagement with one of the best-loved novelists of the Victorian period, from obituaries to vlogs, from stage to screen, from novels to erotic makeovers, this book reveals the author's diverse and intriguing legacy. Engagingly written and illustrated, the book will appeal to both scholars and general readers. -- .

There have been several biographies of George Eliot but this is the first study to focus on her intellectual development. The book provides an analysis of the biographical and intellectual factors which encouraged George Eliot to decide upon fiction as her chosen mode of expression, and demonstrates how that decision was influenced by, and an echoing of, J.S.Mill's and Carlyle's critiques of philosophy.

New essays providing an up-to-date picture of the engagement of artists, philosophers, and critics with Kafka's work. The topic of "Kafka after Kafka" is a fascinating one: the engagement of artists, philosophers, and critics in dialogical exchange with Kafka's works. The present collection of new essays highlights the engagement of lesser knownartists and commentators with Kafka, and represents those who are well known, such as Arendt, Blanchot, Nabokov, and Coetzee, from new perspectives. The eleven essays contained here represent the most recent scholarly engagements with this topic. An essay on major trends in current Kafka criticism provides background for several essays on novelists, philosophers, and critics whose relationship to Kafka is not very well known. A section devoted to Kafka from an Israeli perspective includes artists not commonly known in the US or Europe (Ya'acov Shteinberg, Hezi Leskly, Sayed Kashua), as well as an essay on the recent trial in Israel regarding the fate of Kafka's literary legacy. A final section addresses important contemporary approaches to Kafka in film studies, animal studies, the graphic novel, and in postmodern culture and counterculture. Contributors: Iris Bruce, Stanley Corngold, AmirEngel, Mark H. Gelber, Sander L. Gilman, Caroline Jessen, Tali Latowicki, Michael G. Levine, Ido Lewit, Vivian Liska, Alana Sobelman. Iris Bruce is Associate Professor of German at McMaster University. Mark H. Gelber is Senior Professor and Director of the Center for Austrian and German Studies at Ben-Gurion University.

Women and the Word examines why, in today's secular society, so many of the finest British and American women novelists seem preoccupied with Biblical themes and stories. It offers informed and challenging analysis of individual novels and stories. By analyzing those texts in the context of myth and religion, it makes an important and groundbreaking contribution to a number of the inter-disciplinary debates taking place within women's studies.

Fimi explores the evolution of Tolkien's mythology throughout his lifetime by examining how it changed as a result of his life story and contemporary cultural and intellectual history. This new approach and scope brings to light neglected aspects of Tolkien's imaginative vision and contextualizes his fiction.

An anarchist by temperament, the beautiful and talented Ding Ling attempted to find her way in the world alone. She had a few female friends and a few significant male others, but she rebelled against her family. Most importantly, she rebelled against the Chinese Communist Party to which she desperately hoped to belong. The first part of a comprehensive biography of the major 20th century Chinese author, Ding Ling, this work draws not only on her memoirs, but on numerous secondary sources, many of which have become available only in the last two decades.

Though born into a wealthy family, Jiang Bingzi was raised by her mother after the untimely death of her father. She went to school in the May 4 era, when protest was in the air, the radical ideas of Mao were already in print, and her idol, Lu Xun, was making his literary mark. In her late teens she renounced her engagement, changed her name, and fled to Shanghai where she embraced the anarchist movement. The loss of her brother and lifelong friend, Wang Jianhong, and the loss of her significant other, Hu Yepin, all threw her into various states of depression, not to mention her own abduction by the Guomindang.

Nevertheless, Ding Ling wrote her way out of despair and into the public limelight. Her first collection of short stories, "In the Darkness, " made her famous because of its profound grasp of feminine psychology and its daring treatment of human sexuality. But when Ding Ling attempted to dispel the darkness in Yan'an, she, like everyone else, was told by Mao in his famous "Talks" to focus on the light. Ding Ling made all the necessary adjustments, literary and political. She survived the rectification campaign and mastered proletarian fiction. Mao loved her novel "The Sun Shines on the Sanggan" so much that he ranked her third among contemporaries. Soon, she was traveling to Eastern Europe and to Moscow where she consulted with Soviet notables. With the founding of the People's Republic, it appeared her star was on the rise. This study of Ding Ling and China's literary environment in the first half of the 20th century will be useful to scholars and students of contemporary Chinese history, literature, and women's studies.

This ground-breaking study argues that literature and criminology share a common concern to understand modernity and that this project is often focused upon gender-specific criminality. Central to this concern is duplicity masquerade and performance. These subjects are explored for the first time in relation to criminality with reference to a range of literary and popular texts, from Dickens and Poe through to Toni Morrison and Easton Ellis, in which the traditional boundaries between different genders and sexualities are made more fluid and complex than in traditional criminal narratives.

Using close readings and thematic studies of contemporary science fiction and postcolonial theory, ranging from discussions of Japanese and Canadian science fiction to a deconstruction of race and (post)colonialism in World of Warcraft, This book is the first comprehensive study of the complex and developing relationship between the two areas.

"Thomas Hardy, Sensationalism, and the Melodramatic Mode" provides the first full-length study of sensationalist and melodramatic elements in Hardy's novels. Through a discussion of six of Hardy's texts, this book demonstrates the ways in which he uses the melodramatic mode to advance his critique of established Victorian cultural beliefs through the employment of non-realistic plot devices and sensational "excess."

Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. Conceived separately but narratively and thematically intertwined, the ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life, '" which for Milder means primarily his spiritual, psychological, and vocational life. Four of the ten essays deal with Melville's life and work after his novelistic career ended with the The Confidence-Man in 1857. The range of issues addressed in the essays includes Melville's attitudes toward society, history, and politics, from broad ideas about democracy and the course of Western civilization to responses to particular events like the Astor Place Riots and the Civil War; his feeling about sexuality and, throughout the book, about religion; his relationship to past and present writers, especially to the phases of Euro-American Romanticism, post-Romanticism, and nascent Modernism; his relationship to his wife, Lizzie, to Hawthorne, and to his father, all of whom figured in the crisis that made for Pierre. The title essay, "Exiled Royalties," takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab"--Melville's mythic projection of a "larger, darker, deeper part" of himself. How to live nobly in spiritual exile--to be godlike in the perceptible absence of God--was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. The ways in which this impulseexpressed itself through Melville's forty-five year career, interweaving itself with his personal life and the life of the nation and shaping both the matter and manner of his work, is the unifying subject of Exiled Royalties.

Showalter's thoughtful, detailed introductory essay is a comprehensive analysis between Rosetti's novella and Craik's essays...the biographical portrait of Christina Rossetti's conflicts makes her a vivid example of the psychological and social barriers to the development of the female poets...her description of Dinah Mulock Craik stressed this woman's common-sense approach to ameliorating the position of the working-class woman in society...useful to students of feminist theory and of Victorian literature.
--"Academic Library Book Review"

Cristina Rossetti was nineteen years old when she wrote Maude: Prose and Verse in 1850. Clearly autobiographical, the novel examines the heroine's endeavor to resist the notion that modesty, virtue and domesticity constitute the sole duties of womanhood.

For the precocious young poet, the work was only one of several projects of her teens. Growing up in London as the youngest child in a gifted and unusual family of artists and writers, Rossetti had early developed a poetic vocation. But by the time she wrote "Maude," the lively, passionate, and adventurous little girl who had hated needlework, delighted in fiercely competitive games of chess, and explored the country with her brothers became a painfully constrained, sickly, and over-scrupulous teenager. "Maude" makes clear that at least some of Rossetti's affliction came from anxieties about poetic achievement, her wishes both to be admired for her genius and to renounce it as unfeminine. Often overshadowed by her brother Dante Gabriel Rossetti, Christina struggled to express her own independent authorial voice, and to resist a life bound by the constraints and demands of the traditional female role.

Other late Victorian attitudes towards Anglican women's communities are brought out in "On Sisterhoods" by Dinah Mulock Craik which appeared in Longman's magazine in 1883. Craik herself worked on the literary border between feminine gentility and feminist rebellion. In 1850, when Christina Rossetti was writing "Maude" within the confines of her family, Dinah Mulock was supporting herself and her two younger brothers by her pen. "On Sisterhoods" confronts head-on the woman question.' Asserting that women's role is to find beauty in their lives through altruism and good works--to be more or less good women'--Craik provides a radical solution to the woman question' by advocating the encouragement of Anglican sisterhoods, effectively women's co-operatives. For her, the strongest argument for such a sisterhood is the alternative life it offers to single women, with no outlets for their maternal emotions.

The third text presented here, Craik's "A Woman's Thoughts About Women," was a widely circulated manual of advice on female self-sufficiency for unmarried women, based on her own experience in a family left destitute by an eccentric father when she was nineteen. It addressed a pressing contemporary problem: the large number of urban single women who were well educated and qualified but for whom traditional employment offered no place. Craik understood that independence would come hard to middle-class women, yet she was optimistic about the ways women might re-educate themselves, abandoning false pride and learning to manage small businesses or conduct trades.

Throughout her career, Craik masked her private feminist views with disdain for women's rights and criticism of women's public activism. Unmarried and self-supporting until the age of forty, she wrote about the problems of single and working women in over fifty popular novels, children's stories and collections of essays.

This work offers a peer reviewed account of Defoe's birth and upbringing from 1644 and how he kept the first 36 years of his life a secret and discusses the effects of a vastly different life on all critical understandings of his writing. It is fundamental to any study of Daniel Defoe.

A celebratory history and appreciation of the varied, wildly experimental nature of fiction in eighteenth-century England In this study intended for general readers, eminent critic Patricia Meyer Spacks provides a fresh, engaging account of the early history of the English novel. Novel Beginnings departs from the traditional, narrow focus on the development of the realistic novel to emphasize the many kinds of experimentation that marked the genre in the eighteenth century before its conventions were firmly established in the nineteenth. Treating well-known works like Tom Jones and Tristram Shandy in conjunction with less familiar texts such as Sarah Fielding's The Cry (a kind of hybrid novel and play) and Jane Barker's A Patch-Work Screen for the Ladies (a novel of adventure replete with sentimental verse and numerous subnarratives), the book evokes the excitement of a multifaceted and unpredictable process of growth and change. Investigating fiction throughout the 1700s, Spacks delineates the individuality of specific texts while suggesting connections among novels. She sketches a wide range of forms and themes, including Providential narratives, psychological thrillers, romans a clef, sentimental parables, political allegories, Gothic romances, and many others. These multiple narrative experiments show the impossibility of thinking of eighteenth-century fiction simply as a precursor to the nineteenth-century novel, Spacks shows. Instead, the vast variety of engagements with the problems of creating fiction demonstrates that literary history-by no means inexorable-might have taken quite a different course.