Extending the work of The Routledge Handbook to Nineteenth-Century British Periodicals and Newspapers, this volume provides a critical introduction and case studies that illustrate cutting-edge approaches to periodicals research, as well as an overview of recent developments in the field. The twelve chapters model diverse approaches and methodologies for research on nineteenth-century periodicals. Each case study is contextualized within one of the following broad areas of research: single periodicals, individual journalists, gender issues, periodical networks, genre, the relationship between periodicals, transnational/transatlantic connections, technologies of printing and illustration, links within a single periodical, topical subjects, science and periodicals, and imperialism and periodicals. Contributors incorporate first-person accounts of how they conducted their research and provide specific examples of how they gained access to primary sources, as well as the methods they used to analyze the materials. The 2018 winner of the Robert and Vineta Colby Scholarly Book Prize. The Committee describes the focus of the book on methodology and case studies as "fresh and original," and "useful for both experienced scholars and those new to the field." "Overall. Case Studies suggests new ways of reading canonical authors, new unerstandings of the interprentation of the personal and the public, and an admirable energy in engaging with the structures of national and transnational periodical discourses that are clearly implicated in maintaining soft power within societies" -- Brian Maidment, Liverpool John Moores University

This book offers a critical engagement with contemporary IR textbooks via a novel folklorist approach. Two parts of the folklorist approach are developed, addressing story structures via resemblances to two fairy tales, and engaging with the role of authors via framing gestures. The book not only looks at how the idea of 'social science' may persist in textbooks as many assumptions about what it means to study IR, but also at how these assumptions are written into the defining stories textbooks tell and the possibilities for (re)negotiating these stories and the boundaries of the discipline. This book will specifically engage with how the stories in textbooks constrain how it is possible to define IR through its (re)production as a social science discipline. In the first part, story structures are explored via Donkeyskin and Bluebeard stories which the book argues resemble some structures in textbooks that define how it is permissible to tell stories about IR. In the second part the role of authors is explored via their framing gestures within a text, drawing on a number of fairy tales. By approaching the stories in textbooks alongside fairy tales, Starnes reflects back onto IR the disciplining practices in the stories textbooks tell by rendering them unfamiliar. Aiming to spark a critical conversation about the role of textbooks in defining the boundaries of what counts as IR and by extension the boundaries of the IR canon, this book is of great interest to students and scholars of international relations.

Ancient Greeks endeavored to define the human being vis-a-vis other animal species by isolating capacities and endowments which they considered to be unique to humans. This approach toward defining the human being still appears with surprising frequency, in modern philosophical treatises, in modern animal behavioral studies, and in animal rights literature, to argue both for and against the position that human beings are special and unique because of one or another attribute or skill that they are believed to possess. Some of the claims of man's unique endowments have in recent years become the subject of intensive investigation by cognitive ethologists carried out in non-laboratory contexts. The debate is as lively now as in classical times, and, what is of particular note, the examples and methods of argumentation used to prove one or another position on any issue relating to the unique status of human beings that one encounters in contemporary philosophical or ethological literature frequently recall ancient precedents. This is the first book-length study of the 'man alone of animals' topos in classical literature, not restricting its analysis to Greco-Roman claims of man's intellectual uniqueness, but including classical assertions of man's physiological and emotional uniqueness. It supplements this analysis of ancient manifestations with an examination of how the commonplace survives and has been restated, transformed, and extended in contemporary ethological literature and in the literature of the animal rights and animal welfare movements. Author Stephen T. Newmyer demonstrates that the anthropocentrism detected in Greek applications of the 'man alone of animals' topos is not only alive and well in many facets of the current debate on human-animal relations, but that combating its negative effects is a stated aim of some modern philosophers and activists.

Motherhood remains a complex and contested issue in feminist research as well as public discussion. This interdisciplinary volume explores cultural representations of motherhood in various contemporary European contexts, including France, Italy, Germany, Portugal, Spain, and the UK, and it considers how such representations affect the ways in which different individuals and groups negotiate motherhood as both institution and lived experience. It has a particular focus on literature, but it also includes essays that examine representations of motherhood in philosophy, art, social policy, and film. The book's driving contention is that, through intersecting with other fields and disciplines, literature and the study of literature have an important role to play in nuancing dialogues around motherhood, by offering challenging insights and imaginative responses to complex problems and experiences. This is demonstrated throughout the volume, which covers a range of topics including: discursive and visual depictions of pregnancy and birth; the impact of new reproductive technologies on changing family configurations; the relationship between mothering and citizenship; the shaping of policy imperatives regarding mothering and disability; and the difficult realities of miscarriage, child death, violence, and infanticide. The collection expands and complicates hegemonic notions of motherhood, as the authors map and analyse shifting conceptions of maternal subjectivity and embodiment, explore some of the constraining and/or enabling contexts in which mothering takes place, and ask searching questions about what it means to be a 'mother' in Europe today. It will be of interest not only to those working in gender, women's and feminist studies, but also to scholars in literary and cultural studies, and those researching in sociology, criminology, politics, psychology, medical ethics, midwifery, and related fields.

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include:
* the interactions of post-colonial and performance theories
* the post-colonial re-stagings of language and history
* the specific enactments of ritual and carnival
* the theatrical citations of the post-colonial body
Post-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

This book charts the complex ideological territory of eighteenth-century sentimental discourse through the uniquely revealing lens of the London Magdalen Hospital for Penitent Prostitutes. The establishment of the London Magdalen House in 1758 is read as the cultural high watermark of sentimental confidence in the compatibility of virtue and commerce. It is the product of a whiggish, moral-sense discourse at its most ebullient and culturally authoritative. Equally visible, though, in this context, are the ideological limitations of moral-sense thinking and an anticipation of the ways in which its ideas ultimately failed to underwrite commercial virtue. Sentimental discourse fractures in the course of the mid-century: in part it becomes increasingly divorced from the world; retreating into a primitivist, proto-Romantic virtue which claims no purchase on "things as they are." Where sentimental vocabulary persists in a worldly context, it becomes divorced from a vocabulary of moral virtue. It is overlaid with a French usage where "sentiment" and "sensibility" describe exquisite emotion rather than refined and cultivated virtue.' Changing Sentiments and the Magdalen Hospital registers the fracturing and shifting ground of sentimental discourse in the changing institutional practise of the Magdalen institution, most particularly in its increasingly embrace of evangelical religion.

Post Celtic Tiger Landscapes in Irish Fiction discusses the representations of place and landscape in Irish fiction since 2008. It includes novels and short stories by William Trevor, Dermot Bolger, Anne Enright, Donal Ryan, Claire Kilroy, Kevin Barry, Gerard Donovan, Danielle McLaughlin, Trisha McKinney, Billy O'Callaghan and Colum McCann. In the light of writings by geographers, anthropologists and philosophers such as Doreen Massey, Tim Ingold, Giorgio Agamben and Jeff Malpas, this book looks at the metamorphoses of place and landscape representations in fiction by confirmed or debut authors, in the aftermath of a crisis with deep economic as well as cultural consequences for Irish society. It shows what place and landscape representations reveal of the past, while discussing the way notions such as boundedness, openness and emergence can contribute to thinking out space and place and designing future landscapes.

Addressing for the first time Shakespeare's place in counter-cultural cinema, this book examines and theorizes counter-hegemonic, postmodern, and post-punk Shakespeare in late 20th and early 21st century film. Drawing on a diverse range of case studies, Grant Ferguson presents an interdisciplinary approach that offers new theories on the nature and application of Shakespearean appropriations in the light of postmodern modes of representation. The book considers the nature of the Shakespearean inter-text in subcultural political contexts concerning the politicized aesthetics of a Shakespearean 'body in pieces,' the carnivalesque, and notions of Shakespeare as counter-hegemonic weapon or source of empowerment. Representative films use Shakespeare (and his accompanying cultural capital) to challenge notions of capitalist globalization, dominant socio-cultural ideologies, and hegemonic modes of expression. In response to a post-modern culture saturated with logos and semiotic abbreviations, many such films play with the emblematic imagery and references of Shakespeare's texts. These curious appropriations have much to reveal about the elusive nature of intertextuality in late postmodern culture and the battle for cultural ownership of Shakespeare. As there has yet to be a study that isolates and theorizes modes of Shakespearean production that specifically demonstrate resistance to the social, political, ideological, aesthetic, and cinematic norms of the Western world, this book expands the dialogue around such texts and interprets their patterns of appropriation, adaptation, and representation of Shakespeare.

Charting the period that extends from the 1860s to the 1940s, this volume offers fresh perspectives on Aestheticism and Modernism. By acknowledging that both movements had a passion for the 'new', it goes beyond the alleged divide between Modernism and its predecessors. Rather than reading the modernist credo, 'Make it New!', as a desire to break away from the past, the authors of this book suggest reading it as a continuation and a reappropriation of the spirit of the 'New' that characterizes Aestheticism. Basing their arguments on recent reassessments of Aestheticism and Modernism and their articulation, contributors take up the challenge of interrogating the connections, continuities, and intersections between the two movements, thus revealing the working processes of cultural and aesthetic change so as to reassess the value of the new for each. Attending to well-known writers such as Waugh, Woolf, Richardson, Eliot, Pound, Ford, Symons, Wilde, and Hopkins, as well as to hitherto neglected figures such as Lucas Malet, L.S. Gibbon, Leonard Woolf, or George Egerton, they revise assumptions about Aestheticism and Modernism and their very definitions. This collection brings together international scholars specializing in Aestheticism or Modernism who push their analyses beyond their strict period of expertise and take both movements into account through exciting approaches that borrow from aesthetics, philosophy, or economics. The volume proposes a corrective to the traditional narratives of the history of Aestheticism and Modernism, revitalizing definitions of these movements and revealing new directions in aestheticist and modernist studies.

A consultant physician for 22 years with a strong interest in Robert Louis Stevenson's life and work, Richard Woodhead was intrigued by the questions raised by the references to his symptoms. The assumption that he suffered from consumption - the diagnosis of the day - is challenged here. Consumption (tuberculosis), a scourge of nineteenth century society, it was regarded as severely debilitating if not a death sentence. Dr Woodhead examines how Stevenson's life was affected by his illness and his perception of it. This fictional work puts words into the mouths of five doctors who treated RLS at different periods of his adult life. Though these doctors existed in real-life, little is documented of their private conversations with RLS. However everything Dr Woodhead postulates could have occurred within the known framework of RLS's life. Detailed use of Stevenson's own writing adds authenticity to the views espoused in the book. RLS's writing continues to compel readers today. The fact that he did much of his writing while confined to his sick-bed is fascinating. What illness could have contributed to his creativity?

This book studies the uses of orality in Italian society, across all classes, from the fifteenth to the seventeenth century, with an emphasis on the interrelationships between oral communication and the written word. The Introduction provides an overview of the topic as a whole and links the chapters together. Part 1 concerns public life in the states of northern, central, and southern Italy. The chapters examine a range of performances that used the spoken word or song: concerted shouts that expressed the feelings of the lower classes and were then recorded in writing; the proclamation of state policy by town criers; songs that gave news of executions; the exercise of power relations in society as recorded in trial records; and diplomatic orations and interactions. Part 2 centres on private entertainments. It considers the practices of the performance of poetry sung in social gatherings and on stage with and without improvisation; the extent to which lyric poets anticipated the singing of their verse and collaborated with composers; performances of comedies given as dinner entertainments for the governing body of republican Florence; and a reading of a prose work in a house in Venice, subsequently made famous through a printed account. Part 3 concerns collective religious practices. Its chapters study sermons in their own right and in relation to written texts, the battle to control spaces for public performance by civic and religious authorities, and singing texts in sacred spaces.

Contextualizing Michelangelo's poetry and spirituality within the framework of the religious Zeitgeist of his era, this study investigates his poetic production to shed new light on the artist's religious beliefs and unique language of art. Author Ambra Moroncini looks first and foremost at Michelangelo the poet and proposes a thought-provoking reading of Michelangelo's most controversial artistic production between 1536 and c.1550: The Last Judgment, his devotional drawings made for Vittoria Colonna, and his last frescoes for the Pauline Chapel. Using theological and literary analyses which draw upon reformist and Protestant scriptural writings, as well as on Michelangelo's own rime spirituali and Vittoria Colonna's spiritual lyrics, Moroncini proposes a compelling argument for the impact that the Reformation had on one of the greatest minds of the Italian Renaissance. It brings to light how, in the second quarter of the sixteenth century in Italy, Michelangelo's poetry and aesthetic conception were strongly inspired by the revived theologia crucis of evangelical spirituality, rather than by the theologia gloriae of Catholic teaching.

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

The Greek View of Poetry details critical theories and the appreciation of poetry by the ancient Greeks. Originally published in 1931, this text deals with a whole range of Greek critics from very early criticism to Longinus and his views on Homer in an attempt to provide a historical view of the importance of poetry to Greek society. This title will be of interest to students of Classics.

In 1807 Robert Southey published a pseudonymous account of a journey made through England by a fictitious Spanish tourist, 'Don Manuel Alvarez Espriella'. Letters from England (1807) relates Espriella's travels. On his journey Espriella comments on every aspect of British society, from fashions and manners, to political and religious beliefs.

Children's literature today is dominated by the gothic mode, and it is in children's gothic fictions that we find the implications of cultural change most radically questioned and explored. This collection of essays looks at what is happening in the children's Gothic now when traditional monsters have become the heroes, when new monsters have come into play, when globalisation brings Harry Potter into China and yaoguai into the children's Gothic, and when childhood itself and children's literature as a genre can no longer be thought of as an uncontested space apart from the debates and power struggles of an adult domain. We look in detail at series such as The Mortal Instruments, Twilight, Chaos Walking, The Power of Five, Skulduggery Pleasant, and Cirque du Freak; at novels about witches and novels about changelings; at the Gothic in China, Japan and Oceania; and at authors including Celia Rees, Frances Hardinge, Alan Garner and Laini Taylor amongst many others. At a time when the energies and anxieties of children's novels can barely be contained anymore within the genre of children's literature, spilling over into YA and adult literature, we need to pay attention. Weird things are happening and they matter.

This anthology of 18th-century English poetry is extensively annotated for a new generation of readers. It combines the scope of a period anthology with the detailed annotations of an authoritative single-author edition. Selected poets include John Wilmot, Earl of Rochester, John Dryden, Jonathan Swift, Anne Finch, Countess of Winchilsea, Joseph Addison, Alexander Pope and William Cowper. The guiding principle of the annotation is one of thoroughness: the editors concentrate on works where the meanings have changed, on primary allusions and on relevant details of social and political history.

The book offers the first comprehensive study of Paul Muldoon's mourning verse. Considering not only the celebrated elegies like "Yarrow," "Incantata" or "Sillyhow Stride" but also the elegiac impulse as it develops throughout Muldoon's entire work, All Will Be Swept Away charts a large swathe of Muldoon's poetic landscape in order to show the complexity with which he approaches the themes of death and mourning. Using archival material as well as a vast array of theoretical apparatuses, the book unveils the psychological, literary and political undertones in his poetry, all the while attending to the operations of the poetic text: its form, its music and its capacity to console, warn and censure.

Zhang Longxi, an internationally renowned scholar of Chinese and comparative literature, is your guide to the three-millennia-long history of Chinese literature from the remote antiquity of oracle bones to contemporary works. Professor Zhang charts the development of the major literary forms in Chinese, including poetry, prose, song lyrics, and plays, and introduces the most famous poets and writers and their representative texts. Taking a period-based approach through the major dynasties, he places these forms, texts, and authors within their historical contexts and tells the fascinating story of Chinese literature with copious examples in English translation. He writes in a clear and accessible style and assumes no prior knowledge of Chinese history or Chinese literature. This book is an ideal introduction for students and the general readers who want to get a broad but thorough overview of Chinese literature in all its richness and diversity.

A practical, accessible textbook for undergraduate students with no background in linguistics. Incorporates a range of pedagogical features such as real texts, end of chapter exercises, web links, annotated bibliography and glossary which makes it the ideal textbook for students coming to this topic for the first time. Now supported by IOS and Android app that features grammar exercises; translations; and readings of texts that will support and engage student in their understanding of this topic. Only textbook available that combines the study of Old, Middle and Early Modern English which sets this book apart from the competition.

This set of 42 volumes, originally published between 1965 and 2009, are authored by renowned international scholars in the field of nineteenth century literature. They explore a variety of authors such as Dickens, Hardy, Bronte, Austen, Gaskell, Zola, Meredith, Eliot, Gissing, Hawthorne, James and Wharton. The titles also examine a wide range of themes including gender, class, religion, politics, philosophy and music.

South America is a region that enjoys an unusually high profile as the origin of some of the world's greatest writers and most celebrated footballers. This is the first book to undertake a systematic study of the relationship between football and literature across South America. Beginning with the first football poem published in 1899, it surveys a range of texts that address key issues in the region's social and political history. Drawing on a substantial corpus of short stories, novels and poems, each chapter considers the shifting relationship between football and literature in South America across more than a century of writing. The way in which authors combine football and literature to challenge the dominant narratives of their time suggests that this sport can be seen as a recurring theme through which matters of identity, nationhood, race, gender, violence, politics and aesthetics are played out. This book is fascinating reading for any student, scholar or serious fan of football, as well as for all those interested in the relationship between sports history, literature and society.

This volume investigates the early modern understanding of twinship through new readings of plays, informed by discussions of twins appearing in such literature as anatomy tracts, midwifery manuals, monstrous birth broadsides, and chapbooks. The book contextualizes such dramatic representations of twinship, investigating contemporary discussions about twins in medical and popular literature and how such dialogues resonate with the twin characters appearing on the early modern stage. Garofalo demonstrates that, in this period, twin births were viewed as biologically aberrant and, because of this classification, authors frequently attempt to explain the phenomenon in ways which call into question the moral and constitutional standing of both the parents and the twins themselves. In line with current critical studies on pregnancy and the female body, discussions of twin births reveal a distrust of the mother and the processes surrounding twin conception; however, a corresponding suspicion of twins also emerges, which monstrous birth pamphlets exemplify. This book analyzes the representation of twins in early modern drama in light of this information, moving from tragedies through to comedies. This progression demonstrates how the dramatic potential inherent in the early modern understanding of twinship is capitalized on by playwrights, as negative ideas about twins can be seen transitioning into tragic and tragicomic depictions of twinship. However, by building toward a positive, comic representation of twins, the work additionally suggests an alternate interpretation of twinship in this period, which appreciates and celebrates twins because of their difference. The volume will be of interest to those studying Shakespeare and Renaissance Literature in relation to the History of Emotions, the Body, and the Medical Humanities.

Jean Barbot, who served as a commercial agent on French slave-trading voyages to West Africa in 1678-9 and 1681-2, in 1683 began an account of the Guinea coast, based partly on his voyage journals (only one of which is extant) and partly on previous printed sources. The work was interrupted by his flight to England, as a Huguenot refugee, in 1685, and not finished until 1688. When Barbot found that his lengthy French account could not be published, he rewrote it in English, enlarging it even further, and then continually revising it up to his death in 1712. The manuscript was eventually published in 1732. Barbot's book had considerable influence on later European attitudes to Black Africa and the Atlantic slave trade and in modern writings on both subjects is frequently cited as evidence. The French account serves as the base for the present edition and is presented in English translation but additional material in the later English version is inserted. The edition concentrates on Barbot's original information. He copied much from earlier sources - this derived material is omitted but is identified in the notes. The original material, mainly on Senegal, Sierra Leone, River Sess, Gold Coast and the Calabars, is extensively annotated, not least with comparative references to other sources. Apart from its narrative interest, the edition thus provides a starting point for the critical assessment of a range of early sources on Guinea. The edition opens with an introductory essay discussing Barbot's life and career and analysing his sources. Barbot provided a large number of his own drawings of topographical and ethnographical features, in particular drawings of almost all of the European forts in Guinea. Many of these illustrations are reproduced. This volume covers the coast from Senegal to Gold Coast. The main pagination of this and the following volume (Second series 176) series is continuous. This is a new print-on-demand hardback edition of the volume first published in 1991.