First Published in 2002. Part of the G.Wilson Knight collection, the essays included in this volume constitute a fairly consistent record of his attempts over a period of some forty years to explore the deeper significances of Shakespearian poetry and drama.

First Published in 2001. This is Volume 3 of the Selected Works of I.A. Richards from 1919 to 1938 and concerns itself with the principles of literary criticism from 1924.

Guilty pleasures in one's reading habits are nothing new. Late-nineteenth-century American literary culture even championed the idea that popular novels need not be great. Best-selling novels arrived in the public sphere as at once beloved and contested objects, an ambivalence that reflected and informed America's cultural insecurity. This became a matter of nationhood as well as aesthetics: the amateurism of popular narratives resonated with the discourse of new nationhood. In Guilty Pleasures, Hugh McIntosh examines reactions to best-selling fiction in the United States from 1850 to 1920, including reader response to such best-sellers as Uncle Tom's Cabin, Ben Hur, and Trilby as well as fictional representations-from Trollope to Baldwin-of American culture's lack of artistic greatness. Drawing on a transatlantic archive of contemporary criticism, urban display, parody, and advertising, Guilty Pleasures thoroughly documents how the conflicted attitude toward popular novels shaped these ephemeral modes of response. Paying close attention to this material history of novel reading, McIntosh reveals how popular fiction's unique status as socially saturating and aesthetically questionable inspired public reflection on what it meant to belong to a flawed national community.

This book reinterprets the relevance, quality and impact of academic literacies provision at university in light of recent higher education developments in a pandemic-transformed world. Drawing on the author's own experience of researching, implementing and assessing academic literacies provision, and on insights from broader scholarship and professional debates, the book helps set a new direction of travel for academic literacies professionals working in a variety of roles to enable and resource students' academic and professional growth. It makes recommendations for policy, strategy and scholarship-informed practice that place value on communicating with confidence, clarity and care at university and beyond.

Beginning with an introduction that examines the portrayal of Lancelot and Guinevere from their origins to the present day, the sixteen essays in this collection deal with varied topics including feminist readings of the characters' representations and the depiction of the lovers in medieval manuscript illuminations, in film, and in other visual arts.

Including twenty-one groundbreaking chapters that examine one of Shakespeare's most complex tragedies. Othello:Critical Essays explores issues of friendship and fealty, love and betrayal, race and gender issues, and much more.

First Published in 2001. This is Volume five of the selected works of I.A. Richards from 1919 to 1938, and focuses on Mencius' thinking on the mind written in 1932.

James Salter (1925-2015) has been known throughout his career as a writer's writer, acclaimed by such literary greats as Susan Sontag, Richard Ford, John Banville, and Peter Matthiessen for his lyrical prose, his insightful and daring explorations of sex, and his examinations of the inner lives of women and men. Conversations with James Salter collects interviews published from 1972 to 2014 with the award-winning author of The Hunters, A Sport and a Pastime, Light Years, and All That Is. Gathered here are his earliest interviews following acclaimed but moderately selling novels, conversations covering his work as a screenwriter and award-winning director, and interviews charting his explosive popularity after publishing All That Is, his first novel after a gap of thirty-four years. These conversations chart Salter's progression as a writer, his love affair with France, his military past as a fighter pilot, and his lyrical explorations of gender relations. The collection contains interviews from Sweden, France, and Argentina appearing for the first time in English. Included as well are published conversations from the United States, Canada, and Australia, some of which are significantly extended versions, giving this collection an international scope of Salter's wide-ranging career and his place in world literature.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Providing an overview of the dynamic field of comics and graphic novels for students and researchers, this Essential Guide contextualises the major research trends, debates and ideas that have emerged in Comics Studies over the past decades. Interdisciplinary and international in its scope, the critical approaches on offer spread across a wide range of strands, from the formal and the ideological to the historical, literary and cultural. Its concise chapters provide accessible introductions to comics methodologies, comics histories and cultures across the world, high-profile creators and titles, insights from audience and fan studies, and important themes and genres, such as autobiography and superheroes. It also surveys the alternative and small press alongside general reference works and textbooks on comics. Each chapter is complemented by list of key reference works.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

In the sixth volume of his Selected Works, I. A. Richards focuses on the writings of Samuel Taylor Coleridge.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

This Chinese-English dictionary of proverbs (yanyu) consists of approximately 4,000 Chinese proverbs alphabetically arranged by the first word(s) (ci) of the proverb, according to the Hanyu Pinyin transcription and Chinese characters (standard simplified), followed by a literal (and when necessary also a figurative) English translation. Additional data such as brief usage notes, sources, parallel expressions, cross-references, and famous instances of use are provided where available. The proverbs are supplemented by an index of key words (both Chinese and English) found in all entries and of all topics addressed. The author has provided a scholarly introduction analyzing the definition, structure, usage, and history of these yanyu in traditional and contemporary China as well as a bibliography of collections and relevant scholarly studies of yanyu. This work, the first such scholarly collection to appear since the Reverend Scarborough's 1926 collection, will be of use not only to sinologists in a wide variety of fields, including anthropology, literature, sociology, psychology, and history, but also to non-Chinese readers interested in Chinese culture or comparative ethno-linguistic and paremiological research.

Faulkner and Mystery presents a wide spectrum of compelling arguments about the role and function of mystery in William Faulkner's fiction. Twelve new essays approach the question of what can be known and what remains a secret in the narratives of the Nobel laureate. Scholars debate whether or not Faulkner's work attempts to solve mysteries or celebrate the enigmas of life and the elusiveness of truth. Contributors scrutinize Faulkner's use of the contemporary crime and detection genre as well as novels that deepen a plot rather than solve it. Several essays are dedicated to exploring the narrative strategies and ideological functions of Faulkner's take on the detective story, the classic "whodunit." Among Faulkner's novels most interested in the format of detection is Intruder in the Dust, which assumes a central role in this essay collection. Other contributors explore the thickening mysteries of racial and sexual identity, particularly the enigmatic nature of his female and African American characters. Questions of insight, cognition, and judgment in Faulkner's work are also at the center of essays that explore his storytelling techniques, plot development, and the inscrutability of language itself. Contributions by Hosam Aboul-Ela, Susan V. Donaldson, Richard Godden, Michael Gorra, Lisa Hinrichsen, Donald M. Kartiganer, Sarah Mahurin, Sean McCann, Noel Polk, Esther Sanchez-Pardo, Rachel Watson, Philip Weinstein

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Contents:
General Editor's Note ^Kimball King. Introduction Lois Gordon. Introduction to Second Edition Lois Gordon. Chronology. 1. Creative Process and Meaning-Some Remark of Pinter's 'Letter to Peter Wood Martin Esslin 2. The Economy of Betrayl Ruby Cohn 3. Time for Change in No Man's Land Austin E. Quigley 4. Last to Go: A Structuralist Reading David Lodge 5. Monologue: The Play of Words Linda Ben-Zvi 6. The Dumb Waiter, The Collection, The Lover, and The Homecoming: A Revisionist Approach George Wellwarth 7. Displacement in Time and Space:Harold Pinter's Other Places Ewald Mengel 8. Film and Drama: The Opening Sequence of the Filmed Version of Harold Pinter's The Caretaker (The Guest) Steven H. Gale 9. Pinter and Politics Susan Hollis Merritt 10. 'Yes! In the Sea of Life Enisled': Harold Pinter's Other Places Ewald Mengel 11. 'To Lay it Bare': Pinter, Shakespeare, and The Dwarfs Francis Gillen 12. Mind-less Men: Pinter's Dumb Waiters Robin Gordon 13. Harold Pinter in New York Lois Gordon 14. Photos, from Pauline Flanagan 15. Harold Pinter's Achievement and Modern Drama Kimball King & Marti Greene 16. Acting Pinter Mel Gussow 17. 'You're speaking to someone and you suddenly become another person: Storytelling in Pinter's Moonlight and Ashes to Ashes Ann C. Hall 18. Celebrating Pinter Michael Billington Selected Bibliography. Author Biographies. Index

No history of the longstanding critical tradition of exploring the Spenser-Ovid relationship has been written. In this book Professor Stapleton constructs such a critical history: the annotations of E. K. in The Shepheardes Calender (1579), the Enlightenment editions of The Faerie Queene, the philological mode of the Spenser Variorum (1932-57), and the recent, innovative work of Harry Berger and Colin Burrow. Aside from occasional articles, no truly comprehensive analysis of their kinship as love poets exists, either. The author explores Spenser's emulation of Ovid's amatory poetics. His humanist education trained him to find or construct analogues and etiological patterns in classical texts. Therefore, his early study of translation, intensive reading, and "versifying" as an interrelated process guaranteed a densely allusive, metamorphic Ovidian poetics as a natural result. The author's predecessors focus almost exclusively on the Metamorphoses as intertext, but do not often distinguish between early modern Latin editions of the poem and translations such as Arthur Golding's. Although Spenser read Ovid in his native language, during the quarter-century of his writing career, his countrymen such as Shakespeare, Donne, and Lodge imitate and recast the ancient author. During this English aetas Ovidiana, a translation industry arises simultaneously so that the entire corpus is rendered into English, from Golding's Metamorphoses (1567) to Wye Saltonstall's Ex Ponto (1638). Since the sixteenth century did not often read or hear a Roman poet in prose renditions, the author uses Renaissance poetical verse translations (with the Latin text) to explore Spenser's variegated use of Ovid: how he sounded as early modern English poetry. The introduction traces a history of the Spenser-Ovid site then accounts for the importance of imitatio and moralization to Spenser's developing poetics. The first four chapters analyze the influence of the Tristia, Heroides, and Metamorphoses on the 1590 Faerie Queene and The Shepheardes Calender. The concluding chapters demonstrate the presence of the Ars amatoria and Amores in Amoretti and Epithalamion and Fowre Hymnes. Spenser's Ovidian Poetics is intended to complement works such as Leonard Barkan's The Gods Made Flesh, Jonathan Bate's Shakespeare and Ovid, Raphael Lyne's Ovid's Changing Worlds: English Metamorphoses 1567-1632, and important essays by Colin Burrow. In the words of Paul Alpers, Professor Stapleton does not wish "to oppose the historical aesthetic" but to understand Spenser's "claim to relative autonomy" in his emulation and reconfiguration of his predecessors.

The Age of the Discovery of the Americas was concurrent with the Age of Discovery in science. In The Alchemy of Conquest, Ralph Bauer explores the historical relationship between the two, focusing on the connections between religion and science in the Spanish, English, and French literatures about the Americas during the early modern period. As sailors, conquerors, travelers, and missionaries were exploring "new worlds," and claiming ownership of them, early modern men of science redefined what it means to "discover" something. Bauer explores the role that the verbal, conceptual, and visual language of alchemy played in the literature of the discovery of the Americas and in the rise of an early modern paradigm of discovery in both science and international law. The book traces the intellectual and spiritual legacies of late medieval alchemists such as Roger Bacon, Arnald of Villanova, and Ramon Llull in the early modern literature of the conquest of America in texts written by authors such as Christopher Columbus, Amerigo Vespucci, Jose de Acosta, Nicolas Monardes, Walter Raleigh, Thomas Harriot, Francis Bacon, and Alexander von Humboldt.

Sampling and Remixing Blackness is a timely and accessible book that examines the social ramifications of cultural borrowing and personal adaptation of Hip-hop culture by non-Black and non-African American Black artists in theater and performance. In a cultural moment where Hip-hop theater hits such as Hamilton offer glimpses of Black popular culture to non-Black people through musical soundtracks, GIFs, popular Hip-hop music, language, clothing, singing styles and embodied performance, people around the world are adopting a Blackness that is at once connected to African American culture--and assumed and shed by artists and consumers as they please. As Black people around the world live a racial identity that is not shed, in a cultural moment of social unrest against anti-blackness, this book asks how such engagements with Hip-hop in performance can be both dangerous and a space for finding cultural allies. Featuring the work of some of the visionaries of Hip-hop theater including Lin-Manuel Miranda, Sarah Jones and Danny Hoch, this book explores the work of groundbreaking Hip-hop theater and performance artists who have engaged Hip-hop's Blackness through popular performance. The book challenges how we understand the performance of race, Hip-hop and Blackness in the age of Instagram, TikTok and Facebook. In a cultural moment where racial identity is performed through Hip-hop culture's resistance to the status quo and complicity in maintaining it, Hodges Persley asks us to consider who has the right to claim Hip-hop's blackness when blackness itself is a complicated mixtape that offers both consent and resistance to transgressive and inspiring acts of performance.

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

Now in its third decade, Studies in the Age of Chaucer is well established as the premier periodical in Chaucer studies and in later Middle English literature. In addition to its annual bibliography of Chaucer scholarship and authoritative reviews on new books of interest to Chaucerians, these volumes contain original scholarship by both young and established scholars ranging in a wide variety of approaches. Studies in the Age of Chaucer is the annual yearbook of the New Chaucer Society, publishing articles on the writing of Chaucer and his contemporaries, their antecedents and successors, and their intellectual and social contexts. More generally, articles explore the culture and writing of later medieval Britain (1200-1500). SAC also includes an annotated bibliography and reviews of Chaucer-related publications.

"Absalom, Absalom " has long been regarded as one of William Faulkner's most difficult, dense, and multilayered novels. It is, on one level, the story of Thomas Sutpen, an enigmatic stranger who came to Jefferson in the early 1830s to wrest his mansion out of the muddy bottoms of the north Mississippi wilderness. He was a man, Faulkner said, "who wanted sons and the sons destroyed him." On another level, the book narrates the tragedy that befalls the entire Sutpen family and that tragedy's legacy that continues well into the twentieth century and beyond. The novel's intricate, demanding prose style, and its haunting dramatization of the South's intricate, demanding history make it a masterpiece of twentieth-century American literature.

"Reading Faulkner: Absalom, Absalom " offers a close examination and interpretation of the novel. Here difficult words and cultural terms that might prove to be a problem for general readers are explained and keyed to page numbers in the definitive Faulkner text (Library of America and Vintage editions). The authors place Faulkner's novel in its historical context, while also connecting it to his other works.