This book examines how early modern and recently emerging theories of consciousness and cognitive science help us to re-imagine our engagements with Shakespeare in text and performance. Papers investigate the connections between states of mind, emotion, and sensation that constitute consciousness and the conditions of reception in our past and present encounters with Shakespeare's works. Acknowledging previous work on inwardness, self, self-consciousness, embodied self, emotions, character, and the mind-body problem, contributors consider consciousness from multiple new perspectives-as a phenomenological process, a materially determined product, a neurologically mediated reaction, or an internally synthesized identity-approaching Shakespeare's plays and associated cultural practices in surprising and innovative ways.

Using the idea of 'parability, 'or the ability for writers to tell improper stories, as a foundation, Alan Ramon Clinton synthesizes a new model for a creative, more daring literary criticism. Sharp and surprising, this wide-ranging project engages with the work of Pynchon, Eco, Forche, Merrill, Weiner, Plath, Ashbery, and Eigner

Drawing links between the Francophone literatures of Canada, the French Caribbean, and North Africa, Spaces of Creation demonstrates that problematic issues of dynamic, postcolonial societies can and do fuel creative acts on the part of women. The trying experiences of displaced mothers and their daughters, including isolation, domestic violence, and single parenthood, often serve to inspire introspection and creative action. In effect, their painful, frustrating existence provides the opportunity-the space of creation-necessary to weave and transmit stories. Organized around different manifestations of culturally diverse or transcultural spaces depicted in postcolonial literature-rural villages, domestic spaces, city centers, and spaces of otherness-the monograph uncovers the complexities of mothering and "daughtering" in contemporary Francophone contexts. Through discussion of these spaces, the book attests to a specifically "feminine" transculturality. This vision of diversity acknowledges both the heartening and tragic aspects of life in dynamic, multicultural communities, revealing creative synergies between the literatures of different Francophone diasporas and inviting the reader to reconsider the mother-daughter relationship.

The emergence of an interdisciplinary study of law and literature is one of the most exciting theoretical developments currently taking place in North America and Britain. Ian Ward explores the educative ambitions of the law and literature movement, and explores the law in key areas of literature from Shakespeare to Umberto Eco to Beatrix Potter, from feminist literature to children's literature to the modern novel. This original book defines the developing state of law and literature studies, and demonstrates how the theory of law and literature can illuminate the literary text.

In this brilliant collection, a renowned critic vividly depicts the dynamic relationships between authors, their work, and their readers Acclaimed novelist and critic Tim Parks has long been fascinated by the complicated relationship between an author's life and work. Dissatisfied with the dominant modes of reading he encountered, he began exploring the underlying values and patterns that guide authors in both their writing and their lives. In a series of provocative, incisive, and unflinching essays written over the past decade and collected for the first time here, he reveals how style and content in a novel reflect a whole pattern of communication and positioning in the author's ordinary and daily behavior. We see how life and work are deeply enmeshed in the work of writers as diverse as Charles Dickens, Feodor Dostoevsky, James Joyce, Anton Chekhov, Philip Roth, Julian Barnes, Peter Stamm, and Geoff Dyer, among others. Parks further shows us how readers' reactions to these writers and their works are inevitably connected to these communicative patterns, establishing a relationship that goes far beyond aesthetic appreciation. This original and daring collection takes us into the psychology of some of our greatest writers and challenges us to see with more clarity how our lives become entangled with theirs through our reading of their novels.

Pointing the way toward a revitalized future for the study of literature, Reconstruction in Literary Studies draws on philosophical pragmatism to justify the academic study of literature. In turn, Vescio connects the changing field to its social function as an institution.

This book is a theoretical and practical guide to implementing an inquiry-based approach to teaching which centers creative responses to works of art in curriculum. Guided by Maxine Greene's philosophy of Aesthetic Education, the authors discuss the social justice implications of marginalized students having access to the arts and opportunities to find their voices through creative expression. They aim to demystify the process of inquiry-based learning through the arts for teachers and teacher educators by offering examples of lessons taught in high school classrooms and graduate level teaching methods courses. Examples of student writing and art work show how creative interactions with the arts can help learners of all ages deepen their skills as readers, writers, and thinkers.

Edward W. Said is considered one of the most influential literary and postcolonial theorists in the world. Affirming Said's multifaceted and enormous critical impact, this collection features essays that highlight the significance of Said's work for contemporary spatial criticism, comparative literary studies, and the humanities in general.

This book brings together three main topics - deconstruction, philosophy of language, and literary theory - that have figured centrally in Christopher Norris' work over the past two decades. It offers a refreshingly clear and vigorous statement of his views as to how 'theory' might profit from a greater awareness of current philosophical debates while philosophy might likewise gain by adopting a more open-minded attitude toward developments in literary theory. Most significant here is Norris's continuing exploration of the various points of contact between Jacques Derrida's thought and the kinds of concern - especially with issues in philosophical semantics and speech-act theory - that have preoccupied thinkers in the 'other', mainstream-analytic line of descent. However, his focus is consistently on matters that should be of interest to philosophers and literary theorists alike. Thus, Norris devotes some penetrating commentary to topics such as modal or 'possible-worlds' logic as it bears upon issues in narrative theory; the 'two cultures' (science versus literature) controversy; the different ways in which literary theory has alternately embraced and rejected the appeal to 'scientific' modes of analysis; and some possible reasons for Wittgenstein's well-known aversion to Shakespeare. He also suggests a novel approach to the free-will/determinism issue by way of debates about the nature of language and the scope it affords for expressive creativity despite - or owing to - the limits imposed by various structural constraints. Altogether, this important new book provides a welcome overview of the author's current thinking and an equally welcome enlargement of horizons in contrast to the narrowly specialised character of much present-day academic discourse.

This path-breaking book explores different ways in which writing about poetry can deepen and extend our critical engagement by deploying creatively the manifold resources of poetic language and form. Through a series of verse-essays, reflective monologues, and inventive variations on topics in literary theory The Winnowing Fan makes a strong case for revising received ideas about the scope and limits of criticism. Norris's poems traverse the full range of European poetic history from Homer's Odyssey, through the work of French symbolists such as Mallarme, to modern writers such as Yeats, Benjamin, Heaney, Larkin, and Barthes. There are also verse-essays and shorter pieces on philosophers from Hume and Leibniz to Heidegger, Althusser, Derrida, de Man, Rorty, Deleuze, Badiou, and Agamben. In each case Norris seeks to free criticism from conventional academic forms and return it to an active mutual engagement with the practice of literature itself.

Milton criticism often treats the poet as if he were the last of the Renaissance poets or a visionary prophet who remained misunderstood until he was read by the Romantics. At the same time, literary histories of the period often invoke a Long Eighteenth Century that reaches its climax with the French Revolution or the Reform Bill of 1832. What gets overlooked in such accounts is the rich story of Milton's relationship to his contemporaries and early eighteenth-century heirs. The essays in this collection demonstrate that some of Milton's earliest readers were more perceptive than Romantic and twentieth-century interpreters. The translations, editions, and commentaries produced by early eighteenth century men of letters emerge as the seedbed of modern criticism and the term 'neoclassical' is itself unmasked as an inadequate characterization of the literary criticism and poetry of the period-a period that could brilliantly define a Miltonic sublime, even as it supported and described all the varieties of parody and domestication found in the mock epic and the novel. These essays, which are written by a team of leading Miltonists and scholars of the Restoration and eighteenth century, cover a range of topics-from Milton's early editors and translators to his first theatrical producers; from Miltonic similes in Pope's Iliad to Miltonic echoes in Austen's Pride and Prejudice; from marriage, to slavery, to republicanism, to the heresy of Arianism. What they share in common is a conviction that the early eighteenth century understood Milton and that the Long Restoration cannot be understood without him.

Why is English synonymous with literature in the United States? At the turn of the twentieth century, literature courses were taught in the original language, and English did not signify literature any more than did French, Italian, or other modern languages. Fifty years later, English had colonized literature, and non-English literatures became configured as "foreign language study." This timely and important intervention into an on-going debate shows how the multilingual population of American faculty and students became progressively more monoglot, as did the configuration of literary studies. Thomas Paul Bonfiglio locates these changes within the anti-immigration, xenophobic, anti-labor, mercantile, militarist, and technocratic ideologies that arose in the United States in the first half of the twentieth century and recommends the return of literary studies and the humanities to their roots.

In Suppose a Sentence, Brian Dillon turns his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence - from Shakespeare to Gertrude Stein, John Ruskin to Joan Didion - the book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence is a polemical and personal reflection on the art of the sentence in literature. Whether the sentence in question is a rigorous expression of a state of vulnerability, extremity, even madness, or a carefully calibrated arrangement, Dillon examines not only how it works and why but also, in the course of the book, what the sentence once was, what it is today, and what it might become tomorrow.

This study examines representations of the cityscape and of a so-called "new urban violence" in both detective-centered and detectiveless crime fiction produced in Spanish America and Spain during recent decades. It documents the emergence and permutations of this production as an index not only of local perceptions of contemporary urban experience and of a contemporary urban "ecology of fear," but also as a transnational index of the globalization of literary forms and markets. It centers on the inscription of urban space in novels set in the metropolitan centers of the Hispanic World: Mexico City, Bogota, Buenos Aires, and Barcelona.

This book examines time travel in literature and other cultural production in the Americas, particularly as concerns fictional journeys between the present and the eras of the Conquest and slave trade. An investigation into time travel provides meaningful new perspectives on several issues of ongoing hemispheric importance. Combining in innovative ways the tools and approaches of postcolonial and popular culture studies as well as comparative literary analysis, this is an ambitious, interdisciplinary study that develops--across several related discursive sites--an argument about the centrality of time travel in the Latin American and Caribbean imagination.

Burke's influential early writings on aesthetic are intimately connected to his political concerns according to this study of his engagement with Irish politics and culture. The heart of his aesthetic addressed itself to the experience of terror, a spectre that haunts Burke's political imagination throughout his career. Burke's preoccupation with violence, sympathy and pain actually allowed him to explore the dark side of the Enlightenment. This major reassessment of a key political and cultural figure appeals to Irish studies specialists, political theorists and Romanticists.

Although normally associated with modernity or modernism, utopia has made a comeback in the age of globalization. Just as the discoveries of the New World and the social upheavals of early modern Europe inspired Thomas More's Utopia and its many descendants, the bewildering technological shifts and economic uncertainties of the present era call for new approaches. The explosion of utopian studies since the 1960s, particularly in the work of such theorists as Herbert Marcuse and Fredric Jameson, suggests that utopia may find its true vocation as both a critical practice and anticipatory desire in this postmodern moment of global capitalism. In Utopia in the Age of Globalization, Robert T. Tally Jr. draws upon recent utopian theory to argue that utopia is best understood today, not as an ideal society or a future state, but as a mode of literary cartography. The utopian project is an attempt to map the present world system in its totality.

Morag Shiach examines the ways in which labour was experienced and represented between 1890 and 1930. There is a strong critical tradition in literary and historical studies that sees the impact of modernity on human labour in terms of intensification and alienation. Shiach, however, explores a series of efforts to articulate the relations between labour and selfhood within modernism. She examines the philosophical languages available for thinking about labour in the period. She then gives an account of the significance of two technologies, the typewriter and the washing machine, central to a cultural and political understanding of labour. Through readings of writings by Sylvia Pankhurst and D. H. Lawrence, Shiach shows how labour underpins the political and textual innovations of the period. She concludes with an analysis of the 'general strike' both as myth and historical event. This study will be of interest to literary and cultural scholars alike.

This book begins with a reflection on dichotomies in comparative studies of Chinese and Western literature and aesthetics. Critiquing an oppositional paradigm, Ming Dong Gu argues that despite linguistic and cultural differences, the two traditions share much common ground in critical theory, aesthetic thought, metaphysical conception, and reasoning. Focusing on issues of language, writing, and linguistics; metaphor, metonymy, and poetics; mimesis and representation; and lyricism, expressionism, creativity, and aesthetics, Gu demonstrates that though ways of conception and modes of expression may differ, the two traditions have cultivated similar aesthetic feelings and critical ideas capable of fusing critical and aesthetic horizons. With a two-way dialogue, this book covers a broad spectrum of critical discourses and uncovers fascinating connections among a wide range of thinkers, theorists, scholars, and aestheticians, thereby making a significant contribution to bridging the aesthetic divide and envisioning world theory and global aesthetics.

This book argues that superhero revision offers new perspectives on the theory and practice of revision in broader contexts, in particular composition studies. Key developments in the history of superhero and composition revision reveal that both are deeply embedded in questions of narrative temporality. The book looks at three unorthodox revision strategies: sideshadowing, in which traditional tropes of superhero narratives are told with "new" characters that clearly evoke traditional ones; excavation, the reintegration and reinterpretation of elements and influences from earlier texts that have been de-emphasized or written out of continuity; and homodoxy, the narrative coexistence of inconsistent elements culled from different versions of a character's textual history. The ensuing cross-disciplinary exploration helps correct a distorted stereotype of revision as a neutral mechanical process, revealing it instead as a potent force operating across a spectrum that ranges from restrictive adherence to orthodoxies, to radical resistance against the primacy of tradition.

This book lays bare the sexy Blake lately obscured in fogs of political correctness and post-feminism. Its contributors uncover, in fact, numerous sexy Blakes, arguing for both chastity and pornography, violence and domination as well as desire and redemption, and also journeying in the realms of conceptual sex and conceptual art. Fierce tussles over the body in, and the body of, Blake's work are the book's life-blood. Contributors differ passionately in their conclusions about the nature of Blake's sexiness. All acknowledge Christopher Hobson's revelation of Blake's insistent tendency to normalize perversity - some with relish, some with alarm. We celebrate the mysteries of Blakean attractions and repulsions, and hope this volume will re-animate the lively sexual debates which once characterized Blake Studies.

This stimulating study considers how Charlotte Brontë's writings engage with a whole range of issues in their time. Through a series of new readings of ostensibly well-known texts, Heather Glen reveals a Charlotte Brontë more alert to her historical moment and far more aesthetically sophisticated than she has usually been taken to be.

This collection of essays focuses on the representations of a variety of "bad girls"-women who challenge, refuse, or transgress the patriarchal limits intended to circumscribe them-in television, popular fiction, and mainstream film from the mid-twentieth century to the present. Perhaps not surprisingly, the initial introduction of women into Western cultural narrative coincides with the introduction of transgressive women. From the beginning, for good or ill, women have been depicted as insubordinate. Today's popular manifestations include such widely known figures as Lisbeth Salander (the "girl with the dragon tattoo"), The Walking Dead's Michonne, and the queen bees of teen television series. While the existence and prominence of transgressive women has continued uninterrupted, however, attitudes towards them have varied considerably. It is those attitudes that are explored in this collection. At the same time, these essays place feminist/postfeminist analysis in a larger context, entering into ongoing debates about power, equality, sexuality, and gender.

This book aims to help readers interpret, and reflect on, their reading more effectively. It presents doctrines of ancient and renaissance rhetoric (an education in how to write well) as questions or categories for interpreting one's reading. The first chapter presents the questions. Later chapters use rhetorical theory to bring out the implications of, and suggest possible answers to, the questions: about occasion and audience (chapter 2), structure and disposition (3), narrative (4), argument (5), further elements of content, such as descriptions, comparisons, proverbs and moral axioms, dialogue, and examples (6), and style (7). Chapter eight describes ways of gathering material, formulating arguments and writing about the texts one reads. The conclusion considers the wider implications of taking a rhetorical approach to reading. The investigation of rhetoric's questions is interspersed with analyses of texts by Chaucer, Sidney, Shakespeare, Fielding and Rushdie, using the questions. The text is intended for university students of literature, especially English literature, and rhetoric, and their teachers.