This new edition of Ecofeminism: Feminist Intersections with Other Animals and the Earth begins with an historical, grounding overview that situates ecofeminist theory and activism within the larger field of ecocriticism and provides a timeline for important publications and events. Throughout the book, authors engage with intersections of gender, sexuality, gender expression, race, disability, and species to address the various ways that sexism, heteronormativity, racism, colonialism, and ableism are informed by and support animal oppression. This collection is broken down into three separate sections: -Affect includes contributions from leading theorists and activists on how our emotions and embodiment can and must inform our relationships with the more-than-human world -Context explores the complexities of appreciating difference and the possibilities of living less violently -Climate, new to the second edition, provides an overview of our climate crisis as well as the climate for critical discussion and debate about ecofeminist ideas and actions Drawing on animal studies, environmental studies, feminist/gender studies, and practical ethics, the ecofeminist contributors to this volume stress the need to move beyond binaries and attend to context over universal judgments; spotlight the importance of care as well as justice, emotion as well as reason; and work to undo the logic of domination and its material implications.

In the past years, reflections on Jewish literatures and theoretical and methodological approaches discussed in Comparative Literature have converged. Places and Forms of Encounter in Jewish Literatures. Transfer, Mediality and Situativity brings together close readings and contextualizations of Jewish literatures with theories discussed in Comparative and World Literature Studies. The contributions are arranged in five chapters capturing central processes, actors and dynamics in the making of literatures, namely Literary Agents, Literary Figures, Writing Voids, Making of Literatures and Perceiving and Creating Languages. The volume seeks to illuminate the interrelations between literary systems, and to highlight Jewish literatures as a prism for encounters on the levels of text, discourse and culture, and their transformative force.

Representing a shift in Carter studies for the 21st century, this book critically explores her legacy and showcases the current state of Angela Carter scholarship. It gives new insights into Carter's pyrotechnic creativity and pays tribute to her incendiary imagination in a reappraisal of Angela Carter's work, her influences and influence. Drawing attention to the highly constructed artifice of Angela Carter's work, it brings to the fore her lesser-known collection of short stories, Fireworks: Nine Profane Pieces to reposition her as more than just the author of The Bloody Chamber. On the way, it also explores the impact of her experiences living in Japan, in the light of Edmund Gordon's 2016 biography and Natsumi Ikoma's translation of Sozo Araki's Japanese memoirs of Carter.

What does it mean to consider philosophy as a species of not just literature but world literature? The authors in this collection explore philosophy through the lens of the "worlding" of literature--that is, how philosophy is connected and reconnected through global literary networks that cross borders, mix stories, and speak in translation and dialect. Historically, much of the world's most influential philosophy, from Plato's dialogues and Augustine's confessions to Nietzsche's aphorisms and Sartre's plays, was a form of literature--as well as, by extension, a form of world literature. Philosophy as World Literature offers a variety of accounts of how the worlding of literature problematizes the national categorizing of philosophy and brings new meanings and challenges to the discussion of intersections between philosophy and literature.

Literature has always recorded a history of patriarchy, sexual violence, and resistance. Academics have been using literature to expose and critique this violence and domination for half a century. But the continued potency of #MeToo after its 2017 explosion adds new urgency and wider awareness about these issues, while revealing new ways in which rape culture shapes our everyday lives. This intersectional guide helps readers, students, teachers, and scholars face and challenge our culture of sexual violence by confronting it through the study of literature. #MeToo and Literary Studies gathers essays on literature from Ovid to Carmen Maria Machado, by academics working across the United States and around the world, who offer clear ways of using our reading, teaching, and critical practices to address rape culture and sexual violence. It also examines the promise and limitations of the #MeToo movement itself, speaking to the productive use of social media as well as to the voices that the movement has so far muted. In uniting diverse voices to enable the #MeToo movement to reshape literary studies, this book is also committed to the idea that the way we read and write about literature can make real change in the world.

Postmodern realist fiction uses realism-disrupting literary techniques to make interventions into the real social conditions of our time. It seeks to capture the complex, fragmented nature of contemporary experience while addressing crucial issues like income inequality, immigration, the climate crisis, terrorism, ever-changing technologies, shifting racial, sex and gender roles, and the rise of new forms of authoritarianism. A lucid, comprehensive introduction to the genre as well as to a wide variety of voices, this book discusses more than forty writers from a diverse range of backgrounds, and over several decades, with special attention to 21st-century novels. Writers covered include: Kathy Acker, Chimamanda Ngozi Adiche, Julia Alvarez, Sherman Alexie, Gloria Anzaldua, Margaret Atwood, Toni Cade Bambara, A.S. Byatt, Octavia Butler, Angela Carter, Ana Castillo, Don DeLillo, Junot Diaz, Jennifer Egan, Awaeki Emezi, Mohsin Hamid, Jessica Hagedorn, Maxine Hong Kingston, Ursula K. Le Guin, Daisy Johnson, Bharati Mukherjee, Toni Morrison, Vladimir Nabokov, Tommy Orange, Ruth Ozeki, Ishmael Reed, Eden Robinson, Salman Rushdie, Jean Rhys, Leslie Marmon Silko, Art Spiegelman, Kurt Vonnegut, and Jeannette Winterson, among others.

Self-reflection is fundamental for human thinking on many levels. Philosophy has described the mind's capacity to observe itself as a core element of human existence. Political and social sciences have shown how modern democracies depend on society's ability to critically reflect on their own values and practices. And literature of all ages has proven self-reflexivity to be a crucial trait of cultural production. This volume provides the first diachronic panorama of genres, forms, and functions of literary self-reflection and their connections with social, political and philosophical discourses from the 17th century to the present. Far beyond the usual focus on postmodernist opacity, these contributions present a rich tradition of critical transparency: Literary texts that show us what is behind and beyond them.

This collection emphasizes a cross-disciplinary approach to the relevance of borders and bordering as a spatial paradigm in Anglophone studies. It sets out to provide a critical counter-narrative to the 1990s globalization argument of a "borderless" world by insisting on the significant roles borders play. The essays range in subject matter from geography, history, British and American literature to painting and Reggae music and map out different conceptualisations of the border: place, line, process, contact zones, etc. The volume's cross-border "narrative" serves as a point of communication between the local and the global, between Europe and America, between different literary and artistic genres, thus challenging the divides of geography and literature, between "real" territorial borders and their "fictional" counterparts.

This volume is the first attempt to reconsider the entire corpus of an ancient canonical author through the lens of queerness broadly conceived, taking as its subject Euripides, the latest of the three great Athenian tragedians. Although Euripides' plays have long been seen as a valuable source for understanding the construction of gender and sexuality in ancient Greece, scholars of Greek tragedy have only recently begun to engage with queer theory and its ongoing developments. Queer Euripides represents a vital step in exploring the productive perspectives on classical literature afforded by the critical study of orientations, identities, affects and experiences that unsettle not only prescriptive understandings of gender and sexuality, but also normative social structures and relations more broadly. Bringing together twenty-one chapters by experts in classical studies, English literature, performance and critical theory, this carefully curated collection of incisive and provocative readings of each surviving play draws upon queer models of temporality, subjectivity, feeling, relationality and poetic form to consider "queerness" both as and beyond sexuality. Rather than adhering to a single school of thought, these close readings showcase the multiple ways in which queer theory opens up new vantage points on the politics, aesthetics and performative force of Euripidean drama. They further demonstrate how the analytical frameworks developed by queer theorists in the last thirty years deeply resonate with the ways in which Euripides' plays twist poetic form in order to challenge well-established modes of the social. By establishing how Greek tragedy can itself be a resource for theorizing queerness, the book sets the stage for a new model of engaging with ancient literature, which challenges current interpretive methods, explores experimental paradigms, and reconceptualizes the practice of reading to place it firmly at the center of the interpretive act.

Empowerment as a concept is making its impact on the field of literary studies. This volume shows its intricate relation to contemporary fiction in English with a broad range of approaches such as feminist, transcultural, and intersectional studies and dealing with genres as diverse as dystopia, science fiction, TV adaptations, the historical novel and immigrant fiction.

Vacillating between the longue duree and microhistory, between ideological critique and historical sympathy, between the contrary formalisms of close and distant reading, literary historians operate with such disparate senses of what the term "history" means that the field risks compartmentalization and estrangement. The Romantic Historicism to Come engages this uncertainty in order to construct a more robust, more capacious idea of history. Focusing attention on Romantic conceptions of history's connection to the future, The Romantic Historicism to Come examines the complications of not only Romantic historicism, but also our own contemporary critical methods: what would it mean if the causal assumptions that underpin our historical judgments do not themselves develop in a stable, progressive manner? Articulating history's minimum conditions, Jonathan Crimmins develops a theoretical apparatus that accounts for the concurrent influence of the various sociohistorical forces that pressure each moment. He provides a conception of history as open to radical change without severing its connection to causality, better addressing the problem of the future at the heart of questions about the past.

Examining the cultural dynamics of translation and transfer, Cultural Transfer Reconsideredproposes new insights into both epistemological and analytical questions raised in the research area of cultural transfer. Seeking to emphasize the creative processes of transfer, Steen Bille Jorgensen and Hans-Jurgen Lusebrink have invited specialized researchers to determine the role of structures and agents in the dynamics of cultural encounters. With its particular focus on the North, as opposed to the South, the volume problematizes national paradigms. Presenting various aspects of tri- and multilateral transfers involving Scandinavian countries, Cultural Transfer Reconsidered opens perspectives regarding the ways in which textual, intertextual and artistic practices, in particular, pave the way for postcolonial interrelatedness. Contributors: Miriam Lay Brander, Petra Broomans, Michel Espagne, Karin Hoff, Steen Bille Jorgensen, Anne-Estelle Leguy, Hans-Jurgen Lusebrink, Walter Moser, Magnus Qvistgaard, Anna Sandberg, Udo Schoening, Wiebke Roeben de Alencar Xavier

Metaphysics of Children's Literature is the first sustained study of ways in which children's literature confronts metaphysical questions about reality and the nature of what there is in the world. In its exploration of something and nothing, this book identifies a number of metaphysical structures in texts for young people-such as the ontological exchange or nowhere in extremis-demonstrating that their entanglement with the workings of reality is unique to the conditions of children's literature. Drawing on contemporary children's literature discourse and metaphysicians from Heidegger and Levinas, to Bachelard, Sartre and Haraway, Lisa Sainsbury reveals the metaphysical groundwork of children's literature. Authors and illustrators covered include: Allan and Janet Ahlberg, Mac Barnett, Ron Brooks, Peter Brown, Lewis Carroll, Eoin Colfer, Gary Crew, Roald Dahl, Roddy Doyle, Imme Dros, Sarah Ellis, Mem Fox, Zana Fraillon, Libby Gleeson, Kenneth Grahame, Armin Greder, Sonya Hartnett, Tana Hoban, Judy Horacek, Tove Jansson, Oliver Jeffers, Jon Klassen, Elaine Konigsburg, Norman Lindsay, Geraldine McCaughrean, Robert Macfarlane, Jackie Morris, Edith Nesbit, Mary Norton, Jill Paton Walsh, Philippa Pearce, Ivan Southall, William Steig, Shaun Tan, Tarjei Vesaas, David Wiesner, Margaret Wild, Jacqueline Woodson and many others.

A thought-provoking contribution to the renaissance of interest in Bergson, this study brings him to a new generation of readers. Ansell-Pearson contends that there is a Bergsonian revolution, an upheaval in philosophy comparable in significance to those that we are more familiar with, from Kant to Nietzsche and Heidegger, that make up our intellectual modernity. The focus of the text is on Bergson's conception of philosophy as the discipline that seeks to 'think beyond the human condition'. Not that we are caught up in an existential predicament when the appeal is made to think beyond the human condition; rather that restricting philosophy to the human condition fails to appreciate the extent to which we are not simply creatures of habit and automatism, but also organisms involved in a creative evolution of becoming. Ansell-Pearson introduces the work of Bergson and core aspects of his innovative modes of thinking; examines his interest in Epicureanism; explores his interest in the self and in time and memory; presents Bergson on ethics and on religion, and illuminates Bergson on the art of life.

Part literary history, part personal memoir, Alice Brittan's beautifully written The Art of Astonishment explores the rich intellectual, religious, and philosophical history of the gift and tells the interconnected story of grace: where it comes from and what it is believed to accomplish. Covering a remarkable range of materials-from The Epic of Gilgamesh, The Iliad, and the tragedies of Classical Greece, through the brothers Grimm and Montaigne, to C. S. Lewis, Toni Morrison, J. M. Coetzee, Elena Ferrante, Karl Ove Knausgaard, and Jhumpa Lahiri-Brittan moves with ease from personal story to myth, to theology, to literature and analysis, examining the nature of social and communal obligation, the role of the intellectual in times of crisis, and the pleasures of reading. In the 21st century, we might imagine grace as a striking and refined quality that is pleasurable to encounter but certainly not fundamental to anyone's existence or to the beliefs and practices that hold us together or drive us apart. For millennia, though, it has been recognized as essential to the vitality of inner life, as well as to the large-scale shifts in perspective and legislation that improve the way we live as a society. Grace is also astonishing-always-as the enormously insightful readings in The Art of Astonishment show. Brittan reveals the concept's breadth as sacred and secular, ancient and recent, lived and literary. And in so doing, she shows us how the act of reading is like grace-social but personal, pleasurable and essential.