"Hispanic Caribbean Literature of Migration: Narratives of Displacement" is a collection of thirteen chapters that explores the literary tradition of Caribbean Latino literature written in the U.S. beginning with Jose Marti and concluding with 2008 Pulitzer Prize winning novelist, Junot Diaz. The essays in this collection reveal the multiple ways that writers of this tradition use their unique positioning as both insiders and outsiders to critique U.S. hegemonic discourses while simultaneously interrogating national discourses in their home countries. The chapters consider the way that spatial migration in literature serves as a metaphor for gender, sexuality, racial, identity, linguistic and national migrations.

This remarkable collection investigates the relations between literature and the economy in the context of the unprecedented expansion of early modern England's long distance trade. Studying a range of genres and writers, both familiar and lesser known, the essays offer a new history of globalization as a complex of unevenly developing cultural, discursive, and economic phenomena. While focusing on how long distance trade contributed to England's economic growth and cultural transformation, the collection taps into scholarly interest in race, gender, travel and exploration, domesticity, mapping, the state and emergent nationalism, and proto-colonialism in the early modern period.

The twelve essays in this book explore in depth for the first time the publishing and reading practices which were formed and changed by the First World War. Ranging from an exploration of British and Australian trench journals and the reading practices of Indian soldiers to the impact of war on the literary figures of the home front in Britain, these essays provide crucial new historical information about the production, circulation and reception of reading matter during a period of international crisis.

This Dictionary offers points of entry into Derrida's complex and extensive works.
This Dictionary offers points of entry into Derrida's complex and extensive works.
From 'aporia' to 'yes', the Dictionary suggests ways into Derrida that show what is at stake in his work.
Demonstrates that Derrida is not just about philosophy, but also about politics and pop music.
Explains why deconstruction matters, and how Derrida can change the way you think.
The A-Z entries are framed by essays on the inherent interdisciplinarity of Derrida's work and on Derrida's relationship to a range of other thinkers.

Outlining the controversies that have surrounded the academic discipline of English Literature since its institutionalization in the late nineteenth century, this important book draws on a range of archival sources. It addresses issues that are central to the identity of academic English - how the subject came into existence, and what makes it a specialist discipline of knowledge - in a manner that illuminates many of the crises that have affected the development of modern English studies. Atherton also addresses contemporary arguments about the teaching of literary criticism, including an examination of the reforms to A-Level literature.

This book investigates the impact of fascism on twentieth-century British fiction. With a solid archival underpinning, Suh locates anti-fascist counter-strategies in middlebrow genres associated with women writers (domestic fiction, melodrama, country house novels, and family sagas) and makes the powerful argument that these rhetorical and narrative strategies emerge as the most durable. Presenting works by Phyllis Bottome, Nancy Mitford, Elizabeth Bowen, Virginia Woolf, and Muriel Spark, the book shifts the focus from high modernism and its heirs, widely considered the most important sites of literary conceptions of the political, to the under explored feminist anti-fascist strategies inherent to middlebrow fiction.

Alongside the recent cultural turn in the humanities, there has been a noticeable return to ethical considerations. With regard to literature as well as other media, this has rekindled awareness of a tension, antagonism, or even disparity between ethics and aesthetics. This volume of articles takes a more systematic and cross-disciplinary approach to the widely mooted ethical turn in literature and other media than has been pursued so far. It brings together a wide range of critical perspectives from literary studies, media and cultural memory studies, and philosophy, tracing the complex and sometimes conflicting relationship between ethics and aesthetics in theoretical contexts and individual case studies as diverse as colonial architecture, nineteenth-century literary histories, and postmodern writing and art.

Adorno and Modern Theatre explores the drama of Edward Bond, David Rudkin, Howard Barker and Sarah Kane in the context of the work of leading philosopher Theodor W. Adorno (1903-1969). The book engages with key principles of Adorno's aesthetic theory and cultural critique and examines their influence on a generation of seminal post-war dramatists.

Literature and Photography in Transition, 1850-1915 examines how British and American writers used early photography and film as illustrations and metaphors. It concentrates on five figures in particular: Henry Mayhew, Robert Louis Stevenson, Amy Levy, William Dean Howells, and Jack London.

Covering a diverse range of figures and issues from Jonathan Swifts pornographic poetry to Oscar Wildes famous cello-shaped coat this book collapses Irish studies into the critical perspective of disability studies: linking 'Irishness' and 'disability' together allows the emergence of a new critical perspective, an Irish disability studies.

This study explores Hollywood's invention of Britain through the adaptation of its literature. Utilizing Derrida's Margins of Philosophy , texts by Gilles Deleuze and his work with Felix Guattari, this text identifies the future of British and Anglophone literary and cultural studies as a group of citations appropriated for American ends.

Considers the Indian periodical press as a key forum for the production of nationalist rhetoric. It argues that between the 1870s and 1910, the press was the place in which the notion of 'the public' circulated and where an expansive middle class, and even larger reading audience, was persuaded into believing it had force.

Virginia Woolf's writing is alert to the politics of space, be it urban, domestic, textual or geopolitical. This is the first book to offer an in-depth treatment of Woolf's representations of space and place. Its eleven essays contribute not only to Woolf studies but also to emergent debates concerning modernism's relations to empire and geography. They offer innovative and interdisciplinary readings on topics such as London's imperial spaces, the spatial formations created by new technology, and the gendering of space.

The final volume of Rene Wellek's monumental history of modern criticism is a comprehensive survey of the main currents of twentieth-century criticism in Western Europe. In this volume, as in the preceding books of the series, Wellek expounds and analyzes the work of the most prominent critics, offering succinct appraisals of his subjects both as individuals and as participants in the broader movements of the century. Contents I. French Criticism, 1900-1950 French "Classical" Criticism in the Twentieth Century Retrospect: Alain, Remy de Gourmont The Nouvelle Revue Francaise: Andre Gide, Jacques Riviere, Ramon Fernandez, Benjamin Cremiuex, Albert Thibaudet Marcel Proust The Catholic Renaissance: Charles Du Bos, Jacques Maritain and Henri Bremond, Paul Claudel Dada and Surrealism The Geneva School: Marcel Raymond, Albert Beguin, Georges Poulet Albert Camus Jean-Paul Sartre Paul Valery Prospect II. Italian Criticism, 1900-1950 Benedetto Croce The Followers of Croce: Luigi Russo, Francesco Flora, Mario Fubini, Attilio Momigliano The Aestheticians: Giuseppe Antonio Borgese, Alfredo Gargiulo Critics concerned with English and American literature: Cesare Pavese, Mario Praz, Emilio Cecchi Italian Marxism: Antonio Gramesci, Giacomo Debenedetti The Catholic Renaissance: Carlo Bo The Close Readers: Renato Serra, Giuseppe De Robertis, Cesare De Lollis, Eugenio Montale III. Spanish Criticism, 1900-1950 Americo Castro Miguel de Unamuno Marcelino Menendez y Pelayo and Ramon Menendez Pidal Azorin Salvador de Madariaga Jorge Guillen Damaso Alonso Jose Ortega y Gasset

Critics have argued that the field of postcolonial studies has become melancholic due to its institutionalisation in recent years. This book identifies some limits of postcolonial studies and suggests ways of coming to terms with this issue via a renewed engagement with the literary dimension in the postcolonial text.

OurCommonDwelling explores why America's first literary circle turned to nature in the 1830s and '40s. When the New England Transcendentalists spiritualized nature, they were reacting to intense class conflict in the region's industrializing cities. Their goal was to find a secular foundation for their social authority as an intellectual elite. New England Transcendentalism engages with works by William Wordsworth, Henry David Thoreau, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and others. The works of these great authors, interpreted in historical context, show that both environmental exploitation and conscious love of nature co-evolved as part of the historical development of American capitalism.

To many, Edward Said's seminal 1978 work Orientalism is an enduring touchstone, a founding text of the field of postcolonial studies and a book that continues to influence debates in literary and cultural studies, Middle Eastern Studies, anthropology, art history, history and politics. To others, however, Orientalism has serious failings, not least in blaming the wrong people - namely, Orientalists - for the crimes of European imperialism. Debating Orientalism addresses the book's contemporary relevance without lionizing or demonizing its author. Bridging the gap between intellectual history and political engagement, the twelve contributors to this volume interrogate Orientalism's legacy with a view to moving the debate about this text beyond the manichean limitations within which it has all too often been imprisoned. Debating Orientalism seeks to consider Orientalism's implications with a little less feeling, though no less commitment to understanding the value and political effects of engaged scholarship.

"Nabokov, Rushdie, and the Transnational Imagination" argues that exiled and migrant novelists create alternate worlds which teach their readers to construct new, nation-like communities. Taking Vladimir Nabokov and Salman Rushdie as model practitioners, this book shows how such writers are remaking national literary traditions. These playful, puzzle-filled texts transcend classification as postcolonial or postmodern; instead, they help identify and create a lineage of boundary-crossing, and test how far the real world can be changed by fiction.

This volume is a selection of significant and previously unpublished essays and short stories by the influential critic of German and American literature and popular culture, James A. Snead. The volume contains innovative essays and notes about African American popular culture, literary criticism and five pieces of short fiction. Published posthumously, the volume attests to Snead's unique intellectual commitment to a critical engagement with the interconnections between European and African American cultural formations.

The Other Virgil tells the story of how a classic like the Aeneid can say different things to different people. As a school text it was generally taught to support the values and ideals of a succession of postclassical societies, but between 1500 and 1800 a number of unusually sensitive readers responded to cues in the text that call into question what the poem appears to be supporting. This book focuses on the literary works written by these readers, to show how they used the Aeneid as a model for poems that probed and challenged the dominant values of their society, just as Virgil had done centuries before. Some of these poems are not as well known today as they should be, but others, like Milton's Paradise Lost and Shakespeare's The Tempest, are; in the latter case, the poems can be understood in new ways once their relationship to the 'other Virgil' is made clear.

The central theme of this book is the relationship between the reflections about and the realization of a musical composition. In his essay "Words about Music, or Analysis versus Performance," Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical conception and performance that are more challenging than those in general currency. Peter Johnson's essay, "Performance and the Listening Experience: Bach's 'Erbarme dich'" shows that a performance is an element within the intentionality of the work itself. He looks for scientific methods capable of proving the artisticity of a performance. And the composer Hans Zender, in his "A Road Map for Orpheus?," states that a composer must be capable of questioning obvious basic principles (such as equal temperament) and finding creative solutions.

This is the first book to consistently read English Modernist literature as testimony to trauma of the First and Second World Wars. Focusing upon T.S. Eliot and D.H. Lawrence, it examines the impact of war upon their lives and their strategies to resist it through literary innovation.

Thirty-five years ago Roland Barthes proclaimed the death of the Author. For medievalists no death has been more timely. In medieval French literature there are no Authors, only authors - and enigmas. Is the medieval author a name or a function, an authority or an image? The way we answer questions shapes how we think about names such as Jean de Meun, Guillaume de Machaut, Jean Froissart, Christine de Pizan, or lesser-known figures like Gerbert de Montreuil, Gautier de Coincy, Baudoin Butor, or David Aubert. The essays in this volume create a prism through which to understand medieval authorship as a process and the medieval author as an agency in the making. This book will appeal to all those who are interested in theoretical approaches to authorship and could serve as an introduction to medieval French literature for sophisticated readers. For specialists it delivers an assessment of current theoretical and methodological issues in medieval studies.

During a career that spanned sixty years, Cleanth Brooks was involved in most of the major controversies facing the humanities from the 1930s until his death in 1994. He was arguably the most important American literary critic of the mid-twentieth century. Because it is impossible to understand modern literary criticism apart from Cleanth Brooks, or Cleanth Brooks apart from modern literary criticism, Mark Royden Winchell gives us not only an account of one man's influence but also a survey of literary criticism in twentieth-century America. More than any other individual, Brooks helped steer literary study away from historical and philological scholarship by emphasizing the autonomy of the text. He applied the methods of what came to be called the New Criticism, not only to the modernist works for which these methods were created, but to the entire canon of English poetry, from John Donne to William Butler Yeats. In his many critical books, especially The Well Wrought Urn and the textbooks he edited with Robert Penn Warren and others, Brooks taught several generations of students how to read literature without prejudice or preconception.

In Modernism and Market Fantasy, Carey Mickalites explores British modernist fiction's critical designs on the changing economic culture in which it took shape. Examining work that ranges from pre-war impressionism through the late modernism of the 1930s, he shows how modernist innovation engages directly with the transitions that mark early twentieth-century capitalism. Mickalites places modernist texts in relationship to particular economic structures: an investment and finance economy that imagines endlessly inflated returns through speculative trading; the anxieties of selfhood produced by capitalist exchange and private property; advertising and fashion culture's dream worlds of perpetual self-renewal; and commercial spectacle's capacity to generate new public affects. Demonstrating that prominent modernists viewed the market as an abstract space organized around irrational fantasies and anxieties, Mickalites argues that modernism reconfigures capitalist mythologies along the fault lines of their internal contradictions in an effort to blast an increasingly reified economic culture into a new historical consciousness of itself.