First published in 1902, this volume was edited from the unique manuscript, Laud Misc. 595, in the Bodleian Library, Oxford. The manuscript dates to the early 15th century, though it cannot be the original. Parts I and II of this Middle-English text are republished here as one volume, accompanied with glosses though without introduction.

For several generations, comics were regarded as a boy's club-created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre's entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li'l Tomboy-a group that collectively forms a tradition of funny girls in American comics. Abate demonstrates the massive popularity these funny girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement-they were serious agents for cultural commentary and sociopolitical change.

First published in 1907, the publication of these Middle-English texts aimed to make the dramatic Harrowing of Hell and Gospel of Nicodemus easily accessible to students of English literature. Edited together using all known manuscripts, the volume includes the texts of the Harrowing of Hell and the Gospel of Nicodemus along with an extensive scholarly introduction on both texts. The Digby, Harley and Auchinleck manuscripts of the Harrowing are printed in three parallel columns to allow for fuller, comparative understanding, at once succinct and comprehensive. The Gospel is reproduced similarly with its Galba, Harley and Sion manuscripts along with an additional manuscript. Explanatory notes and glosses have been omitted owing to inclusion in a separate publication.

First published in 1900, this volume was edited from a unique 1440 A.D. manuscript residing in Salisbury Cathedral. As a penitential manual, it joined others of its time such as Handlyng Synne and Parson's Tale and is one of the more voluminous treatises. The fundamental allegory of this Middle-English text is of the well of mire representing the sins of humanity and how it may be cleaned to become a fit receptacle of Grace as we may also cleanse ourselves and our consciences. This volume consists of a modest introduction followed by the Middle-English text Jacob's Well along with glosses.

First published in 1902, this volume contains an extensive, technical scholarly introduction, followed by three Middle-English versions of the Rule of St. Benet along with the Northern Lansdowne Ritual on the reception of novices and the Vespasian Ritual of making a nun. As St Benet is the Medieval English version of St. Benedict, the original version of this text dates back to the 6th century.

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 word is all over Austen's novels: what ought to be done, what one ought to say, how one ought to feel (versus how one does feel). When Austen's characters employ an ought, the delicate oscillation between first- and third-person perspectives that marks her prose leads the reader to distinguish between what they say, and what they ought, according to a morally idealized, third-person calculus, to mean. But what is the context of this ought? This book situates the disinterested, reflective appeal to moral principle invoked_ironically or otherwise_in Austen's oughts within the history of thought about judgment in the British eighteenth century. Beginning with Shaftesbury's critique of Locke's account of judgment, successive readings explore the emphasis on disinterest in works by David Hume, Adam Smith, Samuel Richardson, and Sir Joshua Reynolds alongside discussions of Jane Austen's major novels.

This book is a user-friendly guide to English literature from 1960 to the present. Written by the authors of The Routledge History of Literature in English (now in its second edition), The Routledge Guide to Modern English Writing considers the development and status of English writing today. From Philip Larkin, Seamus Heaney and Ted Hughes to Caryl Churchill, Tom Stoppard and Alan Bennett, the book is essential reading for all readers of contemporary writing.

Until fairly recently, the 'Authorized Version' of cultural modernism stated that the secularizing trends of liberal modernity - and the resultant emphasis on irony, parody and dissolution in modernist artforms - had pushed religion to the edges of early twentieth-century culture. This Companion complicates this 'Authorized Version' by furnishing students and academic researchers with more nuanced and probing assessments of the intersections - and tensions - between religion, myth and creativity during this half century of geopolitical ferment. The Companion addresses the variety and specificity of modernist spiritualities; as well as the intricately textured and shifting standpoints that modernist figures have occupied in relation to theological traditions, practices, creeds, and institutions. What emerges is a multi-textured account of modernism's deep-rooted concern with the historical and established forms of religion as well as new engagements with 'occulture' and indigenous traditions. In short, this Companion supplies a lively and original introduction to the aesthetic, publishing, technological and philosophical trends that shape debates about spirituality, community and self from the 1890s to the 1940s and beyond.

Beginning with the Haitian Revolution, Scott Henkel lays out a literary history of direct democracy in the Americas. Much research considers direct democracy as a form oforganization fit for worker cooperatives or political movements. Henkel reinterprets it as a type of collective power, based on the massive slave revolt in Haiti. In the representations of slaves, women, and workers, Henkel traces a history of power through the literatures of the Americas during the long nineteenth century. Thinking about democracy as a type of power presents a challenge to common, often bureaucratic and limited interpretations of the term and opens an alternative archive, which Henkel argues includes C. L. R. James's The Black Jacobins, Walt Whitman's Democratic Vistas, Lucy Parsons's speeches advocating for the eight-hour workday, B. Traven's novels of the Mexican Revolution, and Marie Vieux Chauvet's novella about Haitian dictatorship. Henkel asserts that each writer recognized this power and represented its physical manifestation as a swarm. This metaphor bears a complicated history, often describing a group, a movement, or a community. Indeed it conveys multiplicity and complexity, a collective power. This metaphor's many uses illustrate Henkel's main concerns, the problems of democracy, slavery, and labor,the dynamics of racial repression and resistance, and the issues of power which run throughout the Americas.

Why do Israelis dislike fantasy? Put so bluntly, the question appears frivolous. But in fact, it goes to the deepest sources of Israeli historical identity and literary tradition. Uniquely among developed nations, Israel's origin is in a utopian novel, Theodor Herzl's 'Altneuland' (1902), which predicted the future Jewish state. Jewish writing in the Diaspora has always tended toward the fantastic, the mystical, and the magical. And yet, from its very inception, Israeli literature has been stubbornly realistic. The present volume challenges this stance. Originally published in Hebrew in 2009, it is the first serious, wide-ranging, and theoretically sophisticated exploration of fantasy in Israeli literature and culture. Its contributors jointly attempt to contest the question posed at the beginning: why do Israelis, living in a country whose very existence is predicated on the fulfillment of a utopian dream, distrust fantasy?

William Shakespeare's Othello (1601-2) has delighted and disturbed theatre audiences for the past four centuries, and remains one of the most frequently performed and widely studied of his plays. This volume is a broad-ranging guide to Othello, providing an introduction to:
* the contexts of the play, through a concise, accessible overview, a chronology and reprinted documents from the period
* the range of critical responses to the play, through a brief critical history and reprinted critical texts, accompanied by explanatory headnotes; and
* the play in performance, through a selection of clearly introduced readings on this topic, along with illustrations.
The sourcebook then examines key passages of the play in detail. Each passage is reprinted in full, along with a headnote and annotations offering crucial guidance to Shakespeare's language and the critical issues which surround the text. Throughout the volume, cross-references link together the contextual materials, critical responses and the play's text.
If you are beginning to study Othello, this Routledge Literary Sourcebook is the one guide you cannot afford to be without.

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.

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.

This study is the first critical biography in English of Sholem Asch, who did little in his lifetime to make such a task an easy one. Asch was not a "tidy" writer. He lived in many cities and countries, wrote tirelessly, and kept little record of his numerous novels, stories, and essays-much less of the countless Yiddish, Hebrew, and European periodicals and newspapers (most of them now long defunct), or editions and translations, in which his writings appeared.

The booklover's ultimate journal! Filled with the best bookish art from avowed bibliophile Jane Mount, plus themed reading lists and room for notes, it's the perfect companion for any reader.

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.

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.

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

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.

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.

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

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