Few poets have captured the imagination of the world like Seamus Heaney. Recognized as one of the truly outstanding poets of our time, Heaney's work is both critically acclaimed and popular with the general reader. It is taught in classrooms across the globe and has been translated into more than twenty-seven languages. Presenting original research from an international field of scholars, Seamus Heaney in Context offers new pathways to explore the places, times and influences that made Heaney a poet. Drawing on newly available archival and print sources, these essays situate Heaney in a multitude of contexts that help readers navigate received ideas about his life and work. In mapping intersecting themes in the current terrain of Heaney criticism, this study also signposts new directions for understanding Heaney's poetry in future contexts.

When an essay is due and dreaded exams loom, here's the lit-crit help students need to succeed! SparkNotes Literature Guides make studying smarter, better, and faster. They provide chapter-by-chapter analysis, explanations of key themes, motifs and symbols, a review quiz and essay topics. Lively and accessible, SparkNotes is perfect for late-night studying and paper writing.

The National Endowment for the Humanities has funded two Summer Institutes titled "Reconsidering Flannery O'Connor", which invited scholars to rethink approaches to Flannery O'Connor's work. Drawing largely on research that started as part of the 2014 NEH Institute, this collection shares its title and its mission. Featuring fourteen new essays, Reconsidering Flannery O'Connor disrupts a few commonplace assumptions of O'Connor studies while also circling back to some old questions that are due for new attention. The volume opens with "New Methodologies", which features theoretical approaches not typically associated with O'Connor's fiction in order to gain new insights into her work. The second section, "New Contexts", stretches expectations on literary genre, on popular archetypes in her stories, and on how we should interpret her work. The third section, lovingly called "Strange Bedfellows", puts O'Connor in dialogue with overlooked or neglected conversation partners, while the final section, "O'Connor's Legacy", reconsiders her personal views on creative writing and her wishes regarding the handling of her estate upon death. With these final essays, the collection comes full circle, attesting to the hazards that come from overly relying on O'Connor's interpretation of her own work but also from ignoring her views and desires. Through these reconsiderations, some of which draw on previously unpublished archival material, the collection attests to and promotes the vitality of scholarship on Flannery O'Connor.

Peculiar Whiteness: Racial Anxiety and Poor Whites in Southern Literature, 1900-1965 argues for deeper consideration of the complexities surrounding the disparate treatment of poor whites throughout southern literature and attests to how broad such experiences have been. While the history of prejudice against this group is not the same as the legacy of violence perpetrated against people of color in America, individuals regarded as ""white trash"" have suffered a dehumanizing process in the writings of various white authors. Poor white characters are frequently maligned as grotesque and anxiety inducing, especially when they are aligned in close proximity to blacks or to people with disabilities. Thus, as a symbol, much has been asked of poor whites, and various iterations of the label (e.g., ""white trash,"" tenant farmers, or even people with a little less money than average) have been subject to a broad spectrum of judgment, pity, compassion, fear, and anxiety. Peculiar Whiteness engages key issues in contemporary critical race studies, whiteness studies, and southern studies, both literary and historical. Through discussions of authors including Charles Chesnutt, Thomas Dixon, Sutton Griggs, Erskine Caldwell, Lillian Smith, William Faulkner, and Flannery O'Connor, we see how whites in a position of power work to maintain their status, often by finding ways to recategorize and marginalize people who might not otherwise have seemed to fall under the auspices or boundaries of ""white trash.

Written for readers at all levels, this book situates Jane Austen in her time, and for all times. It provides a biography; locates her work in the context of literary history and criticism; explores her fiction; and features an encyclopedic, readable resource on the people, places and things of relevance to Austen the person and writer. Details on family members, beaux, friends, national affairs, church and state politics, themes, tropes, and literary devices ground the reader in Austen's world. Appendices offer resources for further reading and consider the massive modern industry that has grown up around Austen and her works.

Formed in 1960 in Raleigh, North Carolina, the Student Non-violent Coordinating Committee (SNCC) was a high-profile civil rights collective led by young people. For Howard Zinn in 1964, SNCC members were "new abolitionists," but SNCC pursued radical initiatives and Black Power politics in addition to reform. It was committed to grassroots organizing in towns and rural communities, facilitating voter registration and direct action through "projects" embedded in Freedom Houses, especially in the South: the setting for most of SNCC's stories. Over time, it changed from a tight cadre into a disparate group of many constellations but stood out among civil rights organizations for its participatory democracy and emphasis on local people deciding the terms of their battle for social change. Organizers debated their role and grappled with SNCC's responsibility to communities, to the "walking wounded" damaged by racial terrorism, and to individuals who died pursuing racial justice. SNCC's Stories examines the organization's print and publishing culture, uncovering how fundamental self- and group narration is for the undersung heroes of social movements. The organizer may be SNCC's dramatis persona, but its writers have been overlooked. In the 1960s it was assumed established literary figures would write about civil rights, and until now, critical attention has centered on the Black Arts Movement, neglecting what SNCC's writers contributed. Sharon Monteith gathers hard-to-find literature where the freedom movement in the civil rights South is analyzed as subjective history and explored imaginatively. SNCC's print culture consists of field reports, pamphlets, newsletters, fiction, essays, poetry, and plays, which serve as intimate and illuminative sources for understanding political action. SNCC's literary history contributes to the organization's legacy.

Published in 1979: This is a play based on the reign of King John with notes.

Young adult literature featuring LGBTQ characters is booming. In the 1980s and 1990s, only a handful of such titles were published every year. Recently, these numbers have soared to over one hundred annual releases. Queer characters are also appearing more frequently in film, on television, and in video games. This explosion of queer representation, however, has prompted new forms of longstanding cultural anxieties about adolescent sexuality. What makes for a good "coming out" story? Will increased queer representation in young people's media teach adolescents the right lessons and help queer teens live better, happier lives? What if these stories harm young people instead of helping them? In Queer Anxieties of Young Adult Literature and Culture, Derritt Mason considers these questions through a range of popular media, including an assortment of young adult books; Caper in the Castro, the first-ever queer video game; online fan communities; and popular television series Glee and Big Mouth. Mason argues themes that generate the most anxiety about adolescent culture - queer visibility, risk taking, HIV/AIDS, dystopia and horror, and the promise that "It Gets Better" and the threat that it might not - challenge us to rethink how we read and engage with young people's media. Instead of imagining queer young adult literature as a subgenre defined by its visibly queer characters, Mason proposes that we see "queer YA" as a body of transmedia texts with blurry boundaries, one that coheres around affect - specifically, anxiety - instead of content.

The storm has become a universal trope in the literature of crisis, revelation and transformation. It can function as a trope of place, of apocalypse and epiphany, of cultural mythos and story, and of people and spirituality. This book explores the connections between people, place and environment through the image of cyclones within fiction and poetry from the Australian state of Queensland, the northern coast of which is characterized by these devastating storms. Analyzing a range of works including Alexis Wright's Carpentaria, Patrick White's The Eye of the Storm, and Vance Palmer's Cyclone it explains the cyclone in the Queensland literary imagination as an example of a cultural response to weather in a unique regional place. It also situates the cyclones that appear in Queensland literature within the broader global context of literary cyclones.

Caitlin R. Kiernan is at the forefront of contemporary gothic, weird and science fiction literature. She has written more than a dozen novels, over 250 short stories, many chapbooks, along with a large number of graphic works. For these Kiernan has won numerous awards. This first full-length look at Kiernan's body of work explores her fictional universe through critical literary lenses to show the depth of her contributions to modern genre literature. A prolific and creative writer, Kiernan's fictions bring to life our fears about the other, the unknown, and the future through stories that range widely across time and space. A sense of dark terror pervades her novels and stories. Yet Kiernan's fictional universe is not disengaged from reality. That is because she works within the long tradition of gothic fiction speaking to the gravest ethical, social and cultural issues. In her dark fiction, Kiernan illustrates the terror of the tyranny of the normal, the oppression of marginalized people, and the pervasive violence of our time. Her dystopian sf propels today's dangerous economic, social, political and environmental tendencies into the future. Kiernan's fiction portrays troubling truths about the current human condition.

Medieval America analyzes literary, legal, and historical archives that help tell a new story about the formation of American culture. Against Cold War-era studies of U.S. culture that argued, following political scientist Louis Hartz's "liberal consensus" model, that the United States emerged from the Revolutionary era free from Europe's feudal institutions and uninterested in the production of its medieval culture productions, Robert Yusef Rabiee contends that feudal law and medieval literature were structural components of the American cultural imaginary in the nineteenth century. The racial, gender, and class formations that emerged in the first era of U.S. nation building were deeply indebted to medieval social, political, and religious thought-an observation that challenges the liberal consensus model and allows us to better grasp how American social roles developed. Far from casting off feudal tradition, the early United States folded feudalism into its emerging liberal order, creating a knotted system of values and practices that continue to structure the American experience. Sometimes, the feudal residuum contradicted the liberal values of the Unites States. Other times, the feudal residuum bolstered those values, revealing deep sympathies between so-called "modern" and "premodern" political thought. Medieval America thus aims to reorient our discussions about American cultural and political development in terms of the long arc of European history.

With the 1965 publication of In Cold Blood, Truman Capote declared that he broke new literary ground. But, despite its kinship with the New Journalism, Capote's "nonfiction novel" belongs to the long tradition of literary naturalism, originating in the work of nineteenth-century French novelist Emile Zola. Now, Naturalism offers a particular response to the increasing problem of violence in American life and the sociological implications of that violence. This book traces the origins of the fact-based homicide novel tradition that emerged in the mainstream of twentieth-century American literature with works such as Frank Norris's McTeague and Theodore Dreiser's An American Tragedy. At the heart of these novels is a young man isolated from every possible community who acts out in desperate circumstances against someone who reflects his isolation. A tension develops in the narrative between how society views this killer and the way he is viewed by the novelist, who shows the protagonist as both victimizer and victim. The crimes central to these narratives epitomize the vast gap between those who can aspire to the so-called "American dream" and those with no realistic chance of achieving it.

A disproportionate number of male writers, including such figures as Amiri Baraka, Larry Neal, Maulana Karenga, and Haki Madhubuti, continue to be credited for constructing the iconic and ideological foundations for what would be perpetuated as the Black Art Movement. Though there has arisen an increasing amount of scholarship that recognizes leading women artists, activists, and leaders of this period, these new perspectives have yet to recognize adequately the ways women aspired to far more than a mere dismantling of male-oriented ideals.

In "Visionary Women Writers of Chicago's Black Arts Movement," Carmen L. Phelps examines the work of several women artists working in Chicago, a key focal point for the energy and production of the movement. Angela Jackson, Johari Amiri, and Carolyn Rodgers reflect in their writing specific cultural, local, and regional insights, and demonstrate the capaciousness of Black Art rather than its constraints. Expanding from these three writers, Phelps analyzes the breadth of women's writing in BAM. In doing so, Phelps argues that these and other women attained advantageous and unique positions to represent the potential of the BAM aesthetic, even if their experiences and artistic perspectives were informed by both social conventions and constraints. In this book, Phelps's examination brings forward a powerful and crucial contribution to the aesthetics and history of a movement that still inspires.

Formed in 1960 in Raleigh, North Carolina, the Student Non-violent Coordinating Committee (SNCC) was a high-profile civil rights collective led by young people. For Howard Zinn in 1964, SNCC members were "new abolitionists," but SNCC pursued radical initiatives and Black Power politics in addition to reform. It was committed to grassroots organizing in towns and rural communities, facilitating voter registration and direct action through "projects" embedded in Freedom Houses, especially in the South: the setting for most of SNCC's stories. Over time, it changed from a tight cadre into a disparate group of many constellations but stood out among civil rights organizations for its participatory democracy and emphasis on local people deciding the terms of their battle for social change. Organizers debated their role and grappled with SNCC's responsibility to communities, to the "walking wounded" damaged by racial terrorism, and to individuals who died pursuing racial justice. SNCC's Stories examines the organization's print and publishing culture, uncovering how fundamental self- and group narration is for the undersung heroes of social movements. The organizer may be SNCC's dramatis persona, but its writers have been overlooked. In the 1960s it was assumed established literary figures would write about civil rights, and until now, critical attention has centered on the Black Arts Movement, neglecting what SNCC's writers contributed. Sharon Monteith gathers hard-to-find literature where the freedom movement in the civil rights South is analyzed as subjective history and explored imaginatively. SNCC's print culture consists of field reports, pamphlets, newsletters, fiction, essays, poetry, and plays, which serve as intimate and illuminative sources for understanding political action. SNCC's literary history contributes to the organization's legacy.

Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day. Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans-style clarinetist Tom Sancton. While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.

This book provides tips and guidelines for teachers and learners of modern foreign languages in higher education institutions, drawing on the authors' experiences of teaching languages including Turkish, Japanese and Korean to suggest strategies and approaches that promote effective use of the online environment. As well as shedding light on modern languages that are typically under-studied and under-represented in the literature, this book demonstrates how the online sphere is increasingly fundamental to language use, change and contact. The authors provide practical guidance to help teachers and learners capitalise on the opportunities presented by a virtual educational context, and offer a more resilient blended approach that will increase teachers' and students' preparedness for changing circumstances and institutional priorities in the future. This book is primarily aimed at teachers and students of foreign languages within HE settings, but its focus on new perspectives will also be of interest to scholars researching the online shift in language education, applied linguistics, curriculum design and educational technology.

Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day. Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans-style clarinetist Tom Sancton. While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.

A detailed and fascinating journey to the roots of The Lord of the Rings, by award-winning Tolkien expert Professor Tom Shippey. The Road to Middle-Earth is a fascinating and accessible exploration of J.R.R.Tolkien's creativity and the sources of his inspiration. Tom Shippey shows in detail how Tolkien's professional background led him to write The Hobbit and how he created a work of timeless charm for millions of readers. He discusses the contribution of The Silmarillion and Unfinished Tales to Tolkien's great myth-cycle, showing how Tolkien's more 'complex' works can be read enjoyably and seriously by readers of his earlier books, and goes on to examine the remarkable 12-volume History of Middle-earth by Tolkien's son and literary heir Christopher Tolkien, which traces the creative and technical processes through which Middle-earth evolved. The core of the book, however, concentrates on The Lord of the Rings as a linguistic and cultural map, as a twisted web of a story, and as a response to the inner meaning of myth and poetry. By following the routes of Tolkien's own obsessions - the poetry of languages and myth - The Road to Middle-earth shows how Beowulf, The Lord of the Rings, Grimm's Fairy Tales, the Elder Edda and many other works form part of a live and continuing tradition of literature. It takes issue with many basic premises of orthodox criticism and offers a new approach to Tolkien, to fantasy, and to the importance of language in literature. This new edition is revised and expanded, and includes a previously unpublished lengthy analysis of Peter Jackson's film adaptations and their effect on Tolkien's work.

"The Translator's Doubts" singles out translation as a way of talking about literary history and theory, philosophy, and interpretation, with the work of Vladimir Nabokov as its "case study." It is hard to separate Nabokov from the act of translation, in all senses of the word--ranging from "moving across" geographical borders and cultural and linguistic boundaries to the transferring of the split between "here" and "there" and "then" and "now." Investigating translation as a transformational rather than mimetic experience allows us to understand the strikingly original end-result: in what emerges, both the "target language" and the "native" language undergo something new that dispenses with the quest for and the "anxiety" of influences. In this sense Nabokov constitutes a perfect object for comparativist study since his oeuvre offers us the unique opportunity to look at his major texts twice: as originals and as translations.

First published in 1906, this edition of Magnyfycence aimed to highlight the true significance of the play within both the canon of John Skelton's work and English drama. Robert Lee Ramsay situates Magnyfycence as a morality play which functioned as a bridge between medieval miracle plays and the modern comedy. He demonstrates the text's significance as the first example of a play by an English man of letters and our first example of a secular and literary rather than theological morality play. This edition features an extensive scholarly introduction exploring areas such as the staging, versification, sources and characterisation, followed by the Middle-English text itself along with glosses.

First published in 1905, these two volumes together reproduced the text of Rawlinson MS. B 408 from the Bodleian Library in two parts. They consist of a preface followed the full Middle English text with glosses. The initial section of the manuscript is slightly older and consists of prefixed liturgical pieces such as the Articles of Excommunication. This follows the common historical practice of combining manuscripts to encourage their preservation. The remainder of the text presents the reader with the Register of the Estates of Godstow Abbey. The manuscript was initially created as a translation of the Latin register in order to allow the nuns, who were literate in English but not Latin, to manage their own estates. This manuscript was, at the time of publication, the only known complete English-language cartulary made for a monastic house. It holds significant implications not only for the status, linguistic development and usage of the English language, but also for women's history in the church and their socioeconomic agency, along with the ability of language to both restrict and open doors. The text includes its own introduction in which the founding of the Abbey by Dame Edyve of Winchester, first Abbess of Godstow, is recounted, followed by deeds relating to the local area.

Contributions by Megan De Roover, Jennifer Harrison, Sarah Jackson, Zoe Jaques, Nada Kujund?Yi?c, Ivana Milkovi?c, Niall Nance-Carroll, Perry Nodelman, David Rudd, Jonathan Chun Ngai Tsang, Nicholas Tucker, Donna Varga, and Tim Wadham One hundred years ago, disparate events culminated in one of the most momentous happenings in the history of children's literature. Christopher Robin Milne was born to A. A. Milne and his wife; Edward Bear, a lovable stuffed toy, arrived on the market; and a living, young bear named Winnie settled in at the London Zoo. The collaboration originally begun by the Milnes, the Shepards, Winnie herself, and the many toys and personalities who fed into the Pooh legend continued to evolve throughout the twentieth and twenty-first centuries to become a global phenomenon. Yet even a brief examination of this sensation reveals that Pooh and his adventures were from the onset marked by a rich complexity behind a seeming simplicity and innocence. This volume, after a decades-long lull in concentrated Pooh scholarship, seeks to highlight the plurality of perspectives, modes, and interpretations these tales afford, especially after the Disney Corporation scooped its paws into the honeypot in the 1950s. Positioning Pooh: Edward Bear after One Hundred Years argues the doings of Pooh remain relevant for readers in a posthuman, information-centric, media-saturated, globalized age. Pooh's forays destabilize social certainties on all levels-linguistic, ontological, legal, narrative, political, and so on. Through essays that focus on geography, language, narrative, characterization, history, politics, economics, and a host of other social and cultural phenomena, contributors to this volume explore how the stories open up discourses about identity, ethics, social relations, and notions of belonging. This first volume to offer multiple perspectives from multiple authors on the Winnie-the-Pooh books in a single collection focuses on and develops approaches that bring this classic of children's literature into the current era. Essays included not only are of relevance to scholars with an interest in Pooh, Milne, and the ""golden age"" of children's literature, but also showcase the development of children's literature scholarship in step with exciting modern developments in literary theory.

Shakespeare | Sense explores the intersection of Shakespeare and sensory studies, asking what sensation can tell us about early modern drama and poetry, and, conversely, how Shakespeare explores the senses in his literary craft, his fictional worlds, and his stagecraft. 15 substantial new essays by leading Shakespeareans working in sensory studies and related disciplines interrogate every aspect of Shakespeare and sense, from the place of hearing, smell, sight, touch, and taste in early modern life, literature, and performance culture, through to the significance of sensation in 21st century engagements with Shakespeare on stage, screen and page. The volume explores and develops current methods for studying Shakespeare and sensation, reflecting upon the opportunities and challenges created by this emergent and influential area of scholarly enquiry. Many chapters develop fresh readings of particular plays and poems, from Hamlet, A Midsummer Night's Dream, King Lear, and The Tempest to less-studied works such as The Comedy of Errors, Venus and Adonis, Troilus and Cressida, and Cymbeline.

With the decline of formalism and its predilection for Old English poetry, Old English prose is leaving the periphery and moving into the center of literary and cultural discussion. The extensive corpus of Old English prose lends many texts of various kinds to the current debates over literary theory and its multiple manifestations. The purpose of this collection is to assist the growing interest in Old English prose by providing essays that help establish the foundations for considered study and offer models and examples of special studies. Both retrospective and current in its examples, this collection can serve as a "first book" for an introduction to study, particularly suitable for courses that seek to entertain such issues as authorship, texts and textuality, source criticism, genre, and forms of historical criticism as a significant part of a broad, cultural teaching (and research) plan.

A Curious Peril examines the prose penned by modernist writer H.D. in the aftermath of World War II, a little-known body of work that has been neglected by scholars, and argues that the trauma H.D. experienced in London during the war profoundly changed her writing. Lara Vetter reveals a shift in these writings from classical "escapist" settings to politically aware explorations of gender, spirituality, nation, and imperialism. Impelled by the shocking political crises of the early 1940s, and increasingly sensitive to imperialist logics, H.D. began to write about the history of modern Europe using innovative forms and genres. She directed her well-known interest in mysticism and otherworldly themes toward the material world of empire-building and perpetual war. Vetter contends that H.D.'s postwar work is essential to understanding the writer's entire career, marking her entrance into late modernism and even foretelling crucial aspects of postmodernism.