In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators - and the works they produced - state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period. By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage - as well as its eventual rejection -, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight: the role of migrant musicians in breaching national boundaries and creating a 'musical cosmopolitanism'; the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians; the translations and rewritings of major plays such as Sheridan's The School for scandal, Schiller's Die Rauber and Kotzebue's Menschenhass und Reue; the refashioning of indigenous and 'national' dramas in Europe under French Revolutionary and imperial rule.

Traditionally, women share their secrets with their hairdressers. But what about their manicurists, masseurs, chi gong teachers, and tattoo artists? In Damage Control, women wax poetic about the experts and gurus who help them love themselves, sharing stories of everything from friendships born in the make-up chair to the utter dismay of a truly horrible haircut.

Minnie Driver finally meets a Frenchman who understands her hair . . . and tries to teach her not to hate it.

Marian Keyes remembers the blow-dry that pushed her over the edge.

Francesca Lia Block tells the ugly story of the plastic surgeon who promised to make her beautiful.

Rose McGowan explains why it's harder to be depressed when you're glamorous . . . and shows how it takes a village to transform from mere mortal to movie star.

Witty and wise, Damage Control is an intimate, sometimes dark, look at our experiences with the professionals who pluck, prod, and pamper every inch of our bodies--and a reminder why we surrender ourselves to their (hopefully) very capable hands.

A major biography of one of literature's most romantic and enigmatic figures, published in hardback to great acclaim: 'one of the great biographies of recent times' (Sunday Telegraph). Alexander Sergeevich Pushkin is indisputably Russia's greatest poet - the nearest Russian equivalent to Shakespeare - and his brief life was as turbulent and dramatic as anything in his work. T.J Binyon's biography of this brilliant and rebellious figure is 'a remarkable achievement' and its publication 'a real event' (Catriona Kelly, Guardian). 'No other work on Pushkin on the same scale, and with the same grasp of atmosphere and detail, exists in English... And Pushkin is well worth writing about... he was a remarkable man, a man of action as well as a poet, and he lived a remarkable life, dying in a duel at the age of thirty-seven.' (John Bayley, Literary Review) Among the delights of this beautifully illustrated and lavishly produced book are the 'caricatures of venal old men with popping eyes and side-whiskers, society beauties with long necks and empire curls and, most touchingly, images of his "cross-eyed madonna" Natalya' (Rachel Polonsky, Evening Standard). Binyon 'knows almost everything there is to know about Pushkin. He scrupulously chronicles his life in all its disorder, from his years at the Lycee through exile in the Crimea, Bessarabia and Odessa, for writing liberal verses, and on to the publication of Eugene Onegin and, eventually, after much wrangling with the censor, Boris Godunov' (Julian Evans, New Statesman) and in this, 'Binyon is unbeatable'(Clive James, TLS).

The name of Carl Linnaeus (1707-1778) is inscribed in almost every flora and fauna published from the mid-eighteenth century onwards; in this respect he is virtually immortal. In this book a group of specialists argue for the need to re-centre Linnaean science and de-centre Linnaeus the man by exploring the ideas, practices and people connected to his taxonomic innovations. Contributors examine the various techniques, materials and methods that originated within the 'Linnaean workshop': paper technologies, publication strategies, and markets for specimens. Fresh analyses of the reception of Linnaeus's work in Paris, Koenigsberg, Edinburgh and beyond offer a window on the local contexts of knowledge transfer, including new perspectives on the history of anthropology and stadial theory. The global implications and negotiated nature of these intellectual, social and material developments are further investigated in chapters tracing the experiences and encounters of Linnaean travellers in Africa, Latin America and South Asia. Through focusing on the circulation of Linnaean knowledge and placing it within the context of eighteenth-century globalization, authors provide innovative and important contributions to our understanding of the early modern history of science.

In this vivid and deeply felt collection of essays, Ron Hansen talks about his novels, childhood, family, and mentors such as John Gardner. He explores prayer, stigmata, twentieth-century martyrs, and the Eucharist. A profile of his grandfather, a "tough-as-nails, brook-no-guff Colorado rancher," finds a place alongside a wonderfully informative portrait of Saint Ignatius of Loyola. A brilliant reading of a story by Leo Tolstoy follows an appreciation of the poetry of Gerard Manley Hopkins.

Surprisingly intimate, A Stay Against Confusion brings together the literary and religious impulses that inform the life of one of our most gifted fiction writers.

A Shropshire Lad by A. E. Housman is one of the best-loved books of poems in English, but even now its author remains a shadowy figure. He maintained an iron reserve about himself - and with good reason. His emotional life was dominated by an unhappy and unrequited love for an Oxford friend. His passion went into his writing, but he could barely hint at its cause. Spoken and Unspoken Love discusses all Housman's poetry, especially the effect of an existence deprived of love, as seen in the posthumous work, where the story becomes clear in personal and deeply moving poems.

In the final decade of the eighteenth century, theatre was amongst the most important sites for redefining France's national identity. In this study, Annelle Curulla uses a range of archival material to show that, more than any other subject matter which was once forbidden from the French stage, Roman Catholic religious life provided a crucial trope for expressing theatre's patriotic mission after 1789. Even as old rules and customs fell with the walls of the Bastille, dramatic works by Gouges, Chenier, La Harpe, and others depicted the cloister as a space for reimagining forms of familial, individual, and civic belonging and exclusion. By relating the dramatic trope of religious life to shifting concepts of gender, family, religiosity, and nation, Curulla sheds light on how the process of secularization played out in the cultural space of French theatre.

Take a walk on any of the South African university campuses and you will hear the air resonating with the sounds of different languages seamlessly interweaving with each other as students engage in academic work, talk, laughter and play. In 2012 this inspired the University of KwaZulu-Natal Language Board, in partnership with Independent Newspapers, to hold a first-of-its-kind isiZulu-English writing competition. By issuing an invitation to write in an African Language in a way that captures our changing world, it hoped to stimulate 'border crossings' and by so doing, encourage reading and writing in African languages. The panel of expert judges comprised internationally renowned storyteller Dr Gcina Mhlophe, Dr Nakanjani Sibiya, Prof Otty Nxumalo and Dr Gugu Mazibuko. They were overwhelmed by the high standard of the entries, which highlighted the value and power of indigenous languages as a source and expression of identity and pride. The purpose of the competition and of this book is thus to promote bilingualism and, in particular, the development of isiZulu, with the aim of contributing to literature in that language. This collection of short stories, essays and poetry is the result. We hope that readers will read it with the same degree of interest and enjoyment that the judges found in it - and that it will highlight the importance of creating spaces for people to express themselves creatively in their mother tongue, rather than in English alone.

This study of the fiction of Gene Wolfe, one of the most influential contemporary American science fiction writers, offers a major reinterpretation of Gene Wolfe's four-volume The Book of the New Sun and its sequel The Urth of the New Sun. employs evolutionary theory to argue for a controversial secular reception of a narrative in which Wolfe plays an elaborate textual game with his reader. After exposing the concealed story at the heart of Wolfe's magnum opus, Wright adopts a variety of approaches to establish that Wolfe is the designer of an intricate textual labyrinth intended to extend his thematic preoccupations with subjectivity, the unreliability of memory, the manipulation of individuals by social and political systems, and the psychological potency of myth, faith and symbolism into the reading experience. Drawing evidence not only from the first 30 years of Wolfe's career but from sources as diverse as reception theory, palaeontology, the Rennaissance hermetic tradition, mythology and science fiction's sub-genre of dying earth literature, Wright provides an accessible interpretation of Gene Wolfe's The Book of the New Sun.

There have been many great and enduring works of literature by Caribbean authors over the last century. The Caribbean Contemporary Classics collection celebrates these deep and vibrant stories, overflowing with life and acute observations about society. Set in Belize City in the early 1950s, Beka Lamb is the record of a few months in the life of Beka and her family. Beka and her friend Toycie Qualo are on the threshold of change from childhood to adulthood. Their personal struggles and tragedies play out against a backdrop of political upheaval and regeneration as the British colony of Belize gears up for universal suffrage, and progression towards independence. The politics of the colony, the influence of the mixing of races in society, and the dominating presence of the Catholic Church are woven into the fabric of the story to provide a compelling portrait, 'a loving evocation of Belizean life and landscape'. Beka's vibrant character guides us through a tumultuous period in her own life and that of her country.

Cipriano Algor, an elderly potter, lives with his daughter Marta and her husband Marcal in a small village on the outskirts of The Center, an imposing complex of shops, apartments, and offices to which Cipriano delivers his pots and jugs every month. On one such trip, he is told not to make any more deliveries. Unwilling to give up his craft, Cipriano tries his hand at making ceramic dolls. Astonishingly, The Center places an order for hundreds, and Cipriano and Marta set to work-until the order is cancelled and the three have to move from the village into The Center. When mysterious sounds of digging emerge from beneath their apartment, Cipriano and Marcal investigate, and what they find transforms the family's life. Filled with the depth, humor, and the extraordinary philosophical richness that marks each of Saramago's novels, The Cave is one of the essential books of our time.

A Guest at the Feast uncovers the places where politics and poetics meet, where life and fiction overlap, where one can be inside writing and also outside of it. From the melancholy and amusement within the work of the writer John McGahern to an extraordinary essay on his own cancer diagnosis, Toibin delineates the bleakness and strangeness of life and also its richness and its complexity. As he reveals the shades of light and dark in a Venice without tourists and the streets of Buenos Aires riddled with disappearances, we find ourselves considering law and religion in Ireland as well as the intricacies of Marilynne Robinson's fiction. The imprint of the written word on the private self, as Toibin himself remarks, is extraordinarily powerful. In this collection, that power is gloriously alive, illuminating history and literature, politics and power, family and the self. 'Toibin's voice is so powerful and distinct, his descriptions so precise, that a single thread does weave through each of these pieces and does not snap . . . perhaps Ireland's greatest living male writer' Sunday Times 'An unsurprisingly erudite, gracefully written unpicking of the world' Independent

Co-Winner of the Modern Language Association's Aldo and Jeanne Scaglione Prize for Italian Studies, 2018. The rediscovery of the thought of Giambattista Vico (1668-1774) - especially his New science - is a post-Revolutionary phenomenon. Stressing the elements that keep society together by promoting a sense of belonging, Vico's philosophy helped shape a new Italian identity and intellectual class. Poet and philosopher Giacomo Leopardi (1798-1837) responded perceptively to the spreading and manipulation of Vico's ideas, but to what extent can he be considered Vico's heir? Through examining the reasons behind the success of the New science in early nineteenth-century Italy, Martina Piperno uncovers the cultural trends, debates, and obsessions fostered by Vico's work. She reconstructs the penetration of Vico-related discourses in circles and environments frequented by Leopardi, and establishes and analyses a latent Vico-Leopardi relationship. Her highly original reading sees Leopardi reacting to the tensions of his time, receiving Vico's message indirectly without a need to draw directly from the source. By exploring the oblique influence of Vico's thought on Leopardi, Martina Piperno highlights the unique character of Italian modernity and its tendency to renegotiate tradition and innovation, past and future.

This study sets Mozart, especially his four most celebrated operas - "Il Seraglio", "Cosi Fan Tutte", "Don Giovanni" and "The Magic Flute", in the context of Enlightenment literature and thought. For this new edition, the author has revised a number of passages and has focused on "Idomeneo" and "La Clemenza di Tito".

An extraordinary evocation of a grown daughter's attachment to her mother, and of both women's strength and resiliency. "I Remain in Darkness" recounts Annie's attempts first to help her mother recover from Alzheimer's disease, and then, when that proves futile, to bear witness to the older woman's gradual decline and her own experience as a daughter losing a beloved parent. "I Remain in Darkness" is a new high water mark for Ernaux, surging with raw emotional power and her sublime ability to use language to apprehend her own life's particular music.

As a socialist monarchist, Jewish Catholic, skeptical mystic, and humorous sage, Roth has never fitted neatly into any one literary or historical category. The essays in this volume, devoted to the Austrian writer Joseph Roth on the occasion of the fiftieth anniversary of his death in Paris in 1939, take a fresh look at his apparent contradictions and demonstrate his contemporary relevance as an acute analyst of the relationship between private life and political change.

In this groundbreaking study, Linn Holmberg provides new perspectives on the Enlightenment 'dictionary wars' and offers a fascinating insight into the intellectual reorientation of a monastic community in the Age of Reason. In mid-eighteenth-century Paris, two Benedictine monks from the Congregation of Saint-Maur - also known as the Maurists - began working on a universal dictionary of arts, crafts, and sciences. At the same time, Diderot and D'Alembert started to compile the famous Encyclopedie. The Benedictines, however, never finished or published their work and the manuscripts were left, forgotten, in the monastery archive. In the first study devoted to the Maurists' unfinished encyclopedia, Holmberg explores the project's origins, development, and abandonment and sheds new light on the intellectual activities of its creators, the emergence of the encyclopedic dictionary in France, and the Encyclopedie of Diderot and D'Alembert. Holmberg adopts a multidisciplinary approach to the challenges of studying a hitherto unexplored and incomplete manuscript. By using codicology and handwriting analysis, the author reconstructs the drafts' order of production, estimates the number of compilers and the nature of their work, and detects comprehensive editorial interferences made by nineteenth-century conservators at the Bibliotheque nationale de France. Holmberg's meticulous work proves, with textual evidence, the Maurist dictionary's origins as an augmented translation of a mathematical dictionary by Christian Wolff. Through comparing the Maurists' manuscripts to the Encyclopedie and the Jesuits' Dictionnaire de Trevoux, the author highlights striking similarities between the Benedictine project and that of Diderot and D'Alembert, showing that the philosophes were neither first with their encyclopedic innovations, nor alone in their secular Enlightenment endeavours.

Following his opposition to the establishment of a theatre in Geneva, Jean-Jacques Rousseau is often considered an enemy of the stage. Yet he was fascinated by drama: he was a keen theatre-goer, his earliest writings were operas and comedies, his admiration for Italian lyric theatre ran through his career, he wrote one of the most successful operas of the day, Le Devin du village, and with his Pygmalion, he invented a new theatrical genre, the Scene lyrique ('melodrama'). Through multi-faceted analyses of Rousseau's theatrical and musical works, authors re-evaluate his practical and theoretical involvement with and influence on the dramatic arts, as well as his presence in modern theatre histories. New readings of the Lettre a d'Alembert highlight its political underpinnings, positioning it as an act of resistance to external bourgeois domination of Geneva's cultural sphere, and demonstrate the work's influence on theatrical reform after Rousseau's death. Fresh analyses of his theory of voice, developed in the Essai sur l'origine des langues, highlight the unique prestige of Italian opera for Rousseau. His ambition to rethink the nature and function of stage works, seen in Le Devin du village and then, more radically, in Pygmalion, give rise to several different discussions in the volume, as do his complex relations with Gluck. Together, contributors shed new light on the writer's relationship to the stage, and argue for a more nuanced approach to his theatrical and operatic works, theories and legacy.

The writer and aesthete William Beckford (1760-1844) was a fascinating embodiment of the sublime egotist. Because of his extravagance, fabulousness and enigmatic nature, biographers have alternately presented him as an object of fascination or dismissed him as an insolent and deceptive character. Laurent Chatel provides an innovative reassessment of Beckford by presenting 'elusiveness' as the defining motif for understanding both the writer and his work. Laurent Chatel opens his analysis by exploring the author's fascination for the East, which informed several of his multi-layered works such as 'The long story', 'Suite des contes arabes' and Vathek. By reconnecting him with the eighteenth-century aesthetic of translation and reappropriation of the Arabian nights, Chatel shows how Beckford's Orientalism was key to his elusiveness and presents him as a fabulist who supplemented existing tales with touches of wonder and horror. In further chapters Chatel explores his lack of recognition as a man of letters - whether desired or not. Through an analysis of the arguably limited reception of Beckford's works, in particular in France both during his lifetime and immediately after his death, we see how his deliberate elusiveness of style was constitutive of his identity. In his groundbreaking repositioning of Beckford, Laurent Chatel provides a new framework for further explorations of his work and their rich overlay of intertextual presences.

The Revolutionary era was a period of radical change in France that dissolved traditional boundaries of privilege, and a time when creative experimentation flourished. As performance and theatrical language became an integral part of the French Revolution, its metaphors seeped into genres beyond the stage. Claire Trevien traces the ways in which theatrical activity influenced Revolutionary print culture, particularly its satirical prints, and considers how these became an arena for performance in their own right. Following an account of the historical and social contexts of Revolutionary printmaking, the author analyses over 50 works, incorporating scenes such as street singers and fairground performers, unsanctioned Revolutionary events, and the representation of Revolutionary characters in hell. Through analysing these depictions as an ensemble, focusing on style, vocabulary, and metaphor, Claire Trevien shows how prints were a potent vehicle for capturing and communicating partisan messages across the political spectrum. In spite of the intervening centuries, these prints still retain the power to evoke the Revolution like no other source material.

A new collection of Shaw's major political writings presents an opportunity to reflect on his influential role as a public intellectual. At the forefront of economic and political debate from the 1880s to the 1950s, George Bernard Shaw was once the most widely read socialist writer in the English language, and his lifelong crusade against inequality and exploitation is far from irrelevant today. The thorough interpenetration of Shaw's literary and political engagements is an unusual story in modern literature, and this volume offers a portrait of Shaw as a political artist in the purest possible sense: that is, as a writer of essays, articles, pamphlets, and books with explicitly and expressly political aims. The selected writings in this volume showcase Shaw's most influential and most accomplished political work, but also provide a cross-section that is representative of the whole of his long career. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Now available in paper, "The Ivory Tower and Harry Potter" is the first book-length analysis of J. K. Rowling's work from a broad range of perspectives within literature, folklore, psychology, sociology, and popular culture. A significant portion of the book explores the Harry Potter series' literary ancestors, including magic and fantasy works by Ursula K. LeGuin, Monica Furlong, Jill Murphy, and others, as well as previous works about the British boarding school experience. Other chapters explore the moral and ethical dimensions of Harry's world, including objections to the series raised within some religious circles. In her new epilogue, Lana A. Whited brings this volume up to date by covering Rowling's latest book, "Harry Potter and the Order of the Phoenix."

Is there anything more to say on Hamlet? Hide fox, and all after, a casual quip of the Prince, as he and his enemy the King start to hunt each other down, is taken as the title for this closely-considered survey of the play. J D Winter finds question after question in it raised and unanswered, as if the plays dramatic method were in part to create uncertainty in its audience and so draw them in. He adopts three phrases from the text to provide a context for his approach: the plays the thing, a rhapsody of words, and the invisible event. The first phrase suggests the spectacle itself, without regard to what has been written about it. There is no reference to outside opinion nor is another literary work named. The second indicates an awareness of the text as poem. While the tremendous sweep of Shakespearean blank verse, the prose-paragraphs on fire with their own poetry, the whispering gallery of metaphor, can scarcely be accorded proper respect in a prose commentary, certain rhapsodic effects are everywhere noted. Finally, the play is contained within a mystery. So much seems to happen; so little seems to happen. Almost all the major characters are subject to a pattern of error in their dealings as they are swept on from one catastrophic misjudgement to another. The level to which the play is focussed upon the blind time between events is unusually high. This too draws in the audience; it is a part of the spectators own internal experience. There can be no definitive answer to Hamlet or Hamlet. But like a signpost in a swarming mist, the third phrase may offer a faint clue: the invisible event.