The Oxford Handbook of Thucydides contains essays on Thucydides as an historian, thinker, and writer. It also features papers on Thucydides' intellectual context and ancient reception. The creative juxtaposition of historical, literary, philosophical, and reception studies allows for a better grasp of Thucydides' complex project and its intellectual context, while at the same time providing a comprehensive introduction to Thucydides' ideas. The Oxford Handbook of Thucydides is organized into four sections of papers: History, Historiography, Political Theory, and Context and Reception. It therefore bridges traditionally divided disciplines. The authors engaged to write the forty chapters for this volume include both well-known scholars and less well-known innovators, who bring fresh ideas and new points of view. Articles avoid technical jargon and long footnotes, and are written in an accessible style. Finally, The Oxford Handbook of Thucydides includes a thorough introduction, which introduces every paper, as well as two maps and an up-to-date bibliography that will enable further and more specific study. It therefore offers a comprehensive introduction to a thinker and writer whose simultaneous depth and innovativeness have been the focus of intense literary and philosophical study since ancient times.

Henri Bergson is frequently cited amongst the holy trinity of major influences on Modernism-literary and otherwise-alongside Sigmund Freud and William James. Gilles Deleuze's Bergsonism has re-popularized Bergson for the 21st century, so much so that, perhaps, our Bergson is Deleuze's Bergson. Despite renewed interest in Bergson, his influence remains understudied and consequently undervalued. While books examining the impact of Freud and James on Modernism abound, Bergson's impact, though widely acknowledged, has been closely examined much more rarely. Understanding Bergson, Understanding Modernism remedies this deficiency in three ways. First, it offers close readings and critiques of six pivotal texts. Second, it reassesses Bergson's impact on Modernism while also tracing his continuing importance to literature, media, and philosophy throughout the twentieth and into the 21st century. In its final section it provides an extended glossary of Bergsonian terms, complete with extensive examples and citations of their use across his texts. The glossary also maps the influence of Bergson's work by including entries on related writers, all of whom Bergson either corresponded with or critiqued.

A major, defining polarity in Euripidean drama, wisdom and folly, has never so far been the subject of a book-length study. The volume aims at filling this gap. Virtually all Euripidean characters, from gods to slaves, are subject to some aspect of folly and claim at least some measure of wisdom. The playwright's sophisticated handling of the tradition and the pervasive ambiguity in his work add extra layers of complexity. Wisdom and folly become inextricably intertwined, as gods pursue their agendas and mortal characters struggle to control their destiny, deal with their troubles, confront their past, and chart their future. Their amoral or immoral behavior and various limitations often affect also their families and communities. Leading international scholars discuss wisdom and folly from various thematic angles and theoretical perspectives. A final section deals with the polarity's reception in vase-painting and literature. The result is a wealth of fresh insights into moral, social and historical issues. The volume is of interest to students and scholars of classical drama and its reception, of philosophy, and of rhetoric

First published in 1982, Images of Crisis explores the premise that literature and art exploit various images to present culturally prevalent ideas, and thus create their own form of iconology. George Landow shows how the tumultuous history of the past two hundred years has resulted in a plethora of metaphors associated with moments of human crisis. Avalanches and volcanoes emerge as focal images in an aesthetic that concerns itself increasingly with the vulnerability of humanity. However, it is in the transformation of traditional religious images that the ideas of the vacant universe are most dramatically presented. Associated with this central idea are ironic transformations of other images that formerly had been associated with Christianity as paradigms of belief: the journey of Odysseus, the rainbow of the Covenant and Robinson Crusoe. Combining close textual analysis with a theory of literary iconology, this fascinating reissue will be of particular value to students with an interest in literary images, and literary and cultural history.

What, for a poet, could 'passive making' mean? What does Wordsworth imagine he is doing, in commanding the moon to shine, the wind to blow in 'Tintern Abbey'? Heralded as the age of social contract and the Rights of Man, romanticism-this book argues-instead engages in non-contractual poetics. In the period's burgeoning economics of 'fiat' money, as much as in the natural and supernatural imagination of its poets, the legacy of romanticism involves a series of absolutist gestures of verbal fiat: a rhetoric subject to historical and philosophical pressures, which so far has largely escaped critical attention. Focused on William Wordsworth, but in constant range of his poet-successors and modern critics, Romantic Fiat argues for the dialectical perils of the urge to reach freedom from illusion. The study presents a rich and emphatic new argument for a double romantic signature of 'let there be' and 'let be.'

The Open Book is a provocative study of literary influence at work in English writing from Hardy to Woolf. Jensen reimagines the links between text and context as she endeavors to historicize literary influence, by taking Bloomian "anxiety" and Kristevan "intertextuality" into fields of actual history and biography. Jensen both borrows from and deconstructs the ideas of thesetheorists as she reads the texts of Hardy, Stephen, Woolf, Mansfield, andMiddleton Murry. By doing so, The Open Book offers a fresh and pragmatic opening onto the relation between personal, cultural and institutional history on the one hand, and literary history on the other.

"Ciphers of History" is a collection of seven classic essays written by the eminent Latin Americanist Enrico Mario Santi, compiled here in a single volume for the first time. Santi covers a broad range of topics in Latin American poetry, narrative, film, and intellectual history, with one brief excursion into Peninsular subject-matter: the Spanish Generation of 98's response to Spain's loss of Cuba in the Spanish-American War of 1898. The collection is defined by a bracing critique of dominant trends in current critical practice, and advocacy of an alternative methodology focused on the retrieval of local knowledge. Santi stresses reading as opposed to theory, and employs the notion of the "cipher" as a figure for "the ultimate ambivalence of interpretation." The essays are tied together by this common approach, which acts as both incisive challenge and demanding blue-print for the field of Latin American literary and cultural studies.

This book examines temporal and formal disruptions found in American autobiographical narratives produced during the end of the nineteenth century. It argues that disruptions were primarily the result of encounters with new communication and transportation technologies. Through readings of major autobiographical works of the period, James E. Dobson argues that the range of affective responses to writing, communicating, and traveling at increasing speed and distance were registered in this literature's formal innovation. These autobiographical works, Dobson claims, complicate our understanding of the lived experience of time, temporality, and existing accounts of periodization. This study first examines the competing views of space and time in the nineteenth century and then moves to examine how high-speed train travel altered American literary regionalism, the region, and history. Later chapters examine two narratives of failed homecoming that are deeply ambivalent about modernity and technology, Henry James's The American Scene and Theodore Dreiser's A Hoosier Holiday, before a reading of the telephone network as a metaphor for historiography and autobiography in Henry Adams's The Education of Henry Adams.

This study, first published in 1982, explores and demonstrates the ways in which an awareness of literary genre can illuminate works as diverse as Milton's 'Lycidas' and Berryman's Sonnets. The first book to offer a historical survey of genre theory, it traces the history from the Greek rhetoricians to such contemporary figures as Frye and Todorov. Particular emphasis is placed on the ways in which comments on genre reflect underlying aesthetic attitudes.

This volume suggests that reading and writing about literature are ways to gain an ethical understanding of how we live in the world. Postmodern narrative is an important way to reveal and discuss who are society's victims, inviting the reader to become one with them. A close reading of fiction by Toni Morrison, Patrick Suskind, D.M. Thomas, Ian McEwan and J.M. Coetzee reveals a violence imposed on gender, race and the body-politic. Such violence is not new to the postmodern world, but reflects Western culture's religious traditions, as this book demonstrates through a reading of stories from the Hebrew Bible and the Christian New Testament.

This book examines representations of the specter in American twentieth and twenty-first-century fiction. David Coughlan's innovative structure has chapters on Paul Auster, Don DeLillo, Toni Morrison, Marilynne Robinson, and Philip Roth alternating with shorter sections detailing the significance of the ghost in the philosophy of Jacques Derrida, particularly within the context of his 1993 text, Specters of Marx. Together, these accounts of phantoms, shadows, haunts, spirit, the death sentence, and hospitality provide a compelling theoretical context in which to read contemporary US literature. Ghost Writing in Contemporary American Fiction argues at every stage that there is no self, no relation to the other, no love, no home, no mourning, no future, no trace of life without the return of the specter-that is, without ghost writing.

"The Practice of Quixotism" models how to think simultaneously about postmodern theory and eighteenth-century texts. The postmodern claim that we encounter "reality" only through cultural scripts of which we are unaware has a long history: eighteenth-century writers thought about this same possibility with the help of quixote figures, who view the "real" through texts they have read. Focusing on unorthodox quixote narratives written by eighteenth-century women, many now popular in today's classroom, "The Practice of Quixotism" will fascinate readers interested in recent theory, in eighteenth-century culture, in eighteenth-century women writers--or in the descendants of Don Quixote, who celebrated his 400th birthday in 2005.

How does Victorian fiction represent personality? How does it express emotion and how does it imagine the mind? These questions stand at the centre of Eros and Psyche, first published in 1984. In examining how three authors - Charlotte Bronte, Charles Dickens and George Eliot - depict the mind and organise emotion, Chase approaches their works as expressive structures, and analyses their struggle to accommodate rival imperatives in depicting personality: desire and duty, guilt and innocence, love and autonomy. The title begins with Bronte's early Angrian tales, which introduce the problem that unifies the book: the attempt of Victorian fiction to escape the constraints of the romance mode, while assimilating its energies. There follow readings of The Pickwick Papers, Jane Eyre, Bleak House, and Middlemarch, in the light of such problems as confinement and exposure in Bronte, tragic doubt in Dickens, and the image of the moral mind in George Eliot.

The Force of Language illustrates how the philosophy of Language, if differently conceived, can directly incorporate questions of political thought and of emotionality, and offers the practical case of defensive strategies against the abusive speech. This follows a broad consideration of the inner voice or inner speech as a test case for a new approach to language, in particular as a way of radically rethinking the usual contrast between inner and outer through furnishing an account of how we internalize speech. The book's core offers a substantial critique of orthodox approaches to the philosophy of language form Chomsky and others; drawing on European political thought from Marx to Deleuze, it will move beyond this inheritance to explain and demonstrate its fresh conception of language at work.

In More Than Meets the Eye, Georgina Kleege explores the ways that ideas about visual art and blindness are linked in many facets of the culture. While it may seem paradoxical to link blindness to visual art, western theories about art have always been haunted by the specter of blindness. The ideal art viewer is typically represented as possessing perfect vision, an encyclopedic knowledge of art, and a photographic memory of images, all which allow for an unmediated wordless communion with the work of art. This ideal viewer is defined in polar opposition to a blind person, presumed to be oblivious to the power of art, and without the cognitive capacity to draw on analogous experience. Kleege begins her study with four chapters about traditional representations of blindness, arguing that traditional theories of blindness fail to take into account the presence of other senses, or the ability of blind people to draw analogies from non-visual experience to develop concepts about visual phenomena. She then shifts focus from the tactile to the verbal, beginning with Denis Diderot's remarkable range of techniques to describe art works for readers who were not present to view them for themselves, and how his criticism offers a powerful warrant for bringing the specter of blindness out of the shadows and into the foreground of visual experience. Through both personal experience and scholarly treatment, Kleege dismantles the traditional denigration of blindness, contesting the notion that viewing art involves sight alone and challenging traditional understandings of blindness through close reading of scientific case studies and literary depictions. More Than Meets the Eye introduces blind and visually impaired artists whose work has shattered stereotypes and opened up new aesthetic possibilities for everyone.

An innovative and accessible overview of how ancient Scandinavians understood and made use of their mythological stories. Old Norse Mythology provides a unique survey of the mythology of Scandinavia: the gods THorr (Thor) with his hammer, the wily and duplicitous Odinn (Odin), the sly Loki, and other fascinating figures. They create the world, battle their enemies, and die at the end of the world, which arises anew with a new generation of gods. These stories were the mythology of the Vikings, but they were not written down until long after the conversion to Christianity, mostly in Iceland. In addition to a broad overview of Nordic myths, the book presents a case study of one myth, which tells of how THorr (Thor) fished up the World Serpent, analyzing the myth as a sacred text of the Vikings. Old Norse Mythology also explores the debt we owe to medieval intellectuals, who were able to incorporate the old myths into new paradigms that helped the myths to survive when they were no longer part of a religious system. This superb introduction traces the use of the mythology in ideological contexts, from the Viking Age until the twenty-first century, as well as in entertainment.

This Pivot studies the influence of Julia Kristeva's work on American literary and film studies. Chapters consider this influence via such innovative approaches as Hortense Spillers's and Jack Halberstam's to Paule Marshall's fiction and Bram Stoker's Dracula, respectively. The book also considers how critics in the United States receive Kristeva's work on French feminism, semiotics, and psychoanalytic writing in complex, controversial ways, especially on the question of marginalized populations. Examples include Kelly Oliver and Benigno Trigo on Orson Welles's The Lady from Shanghai and Touch of Evil as well as Frances Restuccia on David Lynch's Mulholland Drive. Carol Mastrangelo Bove also examines Kristeva's take on the US in her essays and fiction, which provide a vital part of the dialogue with American critics. Like them, Bove incorporates Kristeva's thought in her own creative readings of little-known authors and directors including Christiane Rochefort, Nancy Savoca, and Frank Lentricchia.

These innovative essays take a comparative approach to queer studies while simultaneously queering the field of comparative literature, strengthening the interdisciplinarity of both. By focusing not only on comparative praxis, but also on interrogating our assumptions and categories of analysis, "Comparatively Queer" powerfully transforms the paradigms of comparison.

The book examines the perception of the organist as the most influential musical figure in Victorian society through the writings of Thomas Hardy and Robert Browning. This will be the first book in the burgeoning area of research into the relationship of music and literature that examines the societal perceptions of a figure central to civic life in Victorian England. This book is deliberately interdisciplinary and will be of special interest to literature scholars and students of Victorian studies, culture, society, religion, gender studies, and music. However, the nature of the text does not require specialist knowledge of music.

First published in 1989, this collection of essays brings into focus the history of a specific form of violence - that of representation. The contributors identify representations of self and other that empower a particular class, gender, nation, or race, constructing a history of the west as the history of changing modes of subjugation. The essays bring together a wide range of literary and historical work to show how writing became an increasingly important mode of domination during the modern period as ruling ideas became a form of violence in their own right. This reissue will be of particular value to literature students with an interest in the concept of violence, and the boundaries and capacity of discourse.

Jerome McGann has been at the forefront of the digital revolution in the humanities. His pioneering critical projects on the World Wide Web have redefined traditional notions about interpreting literature. In this trailblazing book, McGann explores the profound implications digital media have for the core critical tasks of the humanities.Drawing on his work as editor of the acclaimed hypertext project The Rossetti Archive, he sets the foundation for a new critical practice for the digital age. Digital media, he demonstrates, can do much more than organize access to great works of literature and art. Beyond their acknowledged editorial and archival capabilities, digital media are also critical tools of unprecedented power. In McGann’s practical vision, digital tools give scholars a flexible, dynamic means for interpreting expressive works—especially those that combine text and image. Radiant Textuality demonstrates eloquently how new technologies can deepen our understanding of complex, multi-layered works of the human imagination in ways never before thought possible.

The book relates to the study of spirit and spirituality; mind, intelligence, consciousness and epistemology; literature and theatre. From a basis in recorded experience it rethinks the nature of spirit and relates spirit to the human mind, and it questions the unprovable assumptions underlying contemporary objectivist and scientific approaches to intelligence, language and knowledge. It develops a model of the mind and extended states of consciousness and uses this to explore the rhythmical structures fundamental to literature and theatre.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. From the 19th century onwards, famous literary trials have caught the attention of readers, academics and the public at large. Indeed it is striking that more often than not, it was the texts of renowned writers that were dealt with by the courts, as for example Gustave Flaubert's Madame Bovary and Charles Baudelaire's Les Fleurs du Mal in France, James Joyce's Ulysses and Henry Miller's Tropic of Cancer in the US, D.H. Lawrence's Lady Chatterley's Lover in Great-Britain, up to the more recent trials on Klaus Mann's Mephisto and Maxim Biller's novel Esra in Germany. By bringing together international leading experts, Literary Trials represents the first step towards a systematic discussion of literary trials on a global scale. Beginning by first reassessing some of the most famous of these trials, it also analyses less well-known but significant literary trials. Special attention is paid to recent developments in the relationship between literature and judicature, pointing towards an increasing role for libel and defamation in the societal demarcation of what literature is, and is not, allowed to do.

Focusing on contemporary crime narratives from different parts of the world, this collection of essays explores the mobility of crimes, criminals and investigators across social, cultural and national borders. The essays argue that such border crossings reflect on recent sociocultural transformations and geopolitical anxieties to create an image of networked and interconnected societies where crime is not easily contained. The book further analyses crime texts' wider sociocultural and affective significance by examining the global mobility of the genre itself across cultures, languages and media. Underlining the global reach and mobility of the crime genre, the collection analyses types and representations of mobility in literary and visual crime narratives, inviting comparisons between texts, crimes and mobilities in a geographically diverse context. The collection ultimately understands mobility as an object of study and a critical lens through which transformations in our globalised world can be examined.