First published in 1970, this collection is made up of a selection of essays composed between 1962 and 1968, written by distinguished humanist and literary critic Northrop Frye. The book is divided into two parts: one deals largely with the contexts of literary criticism; the other offers more specific studies of literary works in roughly historical sequence. One of the essays is Frye's own elucidation of the development of his critical premises out of his early concern with the poetry of William Blake. Taken together, the essays offer a continuous and coherent argument, making a whole that is entirely equal to the sum of its parts.

This is a major new collection of essays on literary and cultural representations of migration and terrorism, the cultural impact of 9/11, and the subsequent 'war on terror'. The collection commences with analyses of the relationship between migration and terrorism, which has been the focus of much mainstream political and media debate since the attacks on America in 2001 and the London bombings in 2005, not least because liberal democratic governments in Europe and North America have invoked such attacks to justify the regulation of migration and the criminalisation of 'minority' groups. Responding to the consequent erosion of the liberal democratic rights of the individual, leading scholars assess the various ways in which literary texts support and/or interrogate the conflation of narratives of transnational migration and perceived terrorist threats to national security. This crucial debate is furthered by contrasting analyses of the manner in which novelists from the UK, North Africa, the US and Palestine have represented 9/11, exploring the event's contexts and ramifications. This path-breaking study complicates the simplistic narratives of revenge and wronged innocence commonly used to make sense of the attacks and to justify the US response. Each novel discussed seeks to interrogate and analyse a discourse typically dominated by consent, belligerence and paranoia. Together, the collected essays suggest the value of literature as an effective critical intervention in the very fraught political aftermath of the 'war on terror'. This book was published as a special issue of the Journal of Postcolonial Writing.

Contemporary Literature is among the most popular areas of literary study but it can be a difficult one to define. This book equips readers with the necessary tools to take an analytical and systematic approach to contemporary texts. The author provides answers to some of the critical questions in the field:

• What makes a literary text contemporary?
• Is it possible to have a canon of contemporary literature?
• How does a reader 's location affect their understanding?
• How do print, electronic, and audio-visual media impact upon contemporary literature?
• Which key concepts and themes are most prevalent?

Containing diverse illustrative examples and discussing the topics which define our current sense of the contemporary, this is an ideal starting point for anyone seeking to engage critically with contemporary literature anywhere.

This book demonstrates how city literature addresses questions of possibility. In city literature, ideas of possibility emerge primarily through two perspectives: texts may focus on what is possible for cities, and they may present the urban environment as a site of possibility for individuals or communities. The volume combines reflections on urban possibility from a range of geographical and cultural contexts-in addition to the English-speaking world, individual chapters analyse possible cities and possible urban lives in Turkey, Israel, Finland, Germany, Russia and Sweden. Moreover, by engaging with issues such as city planning, mass housing, gentrification, informal settlements and translocal identities, the book shows imaginative literature at work outlining what possibility means in cities.

The essays in this collection fall into three groups. The first group deals with philosophical accounts of interpretation. The second is concerned with the interpretation of scripture with particular reference to the work of the Oxford theologian and philosopher Austin Farrer. The third group provides some examples of interpretative practice relating to Genesis and the book of Psalms. The contributors represent a wide range of academic disciplines and religious traditions, providing significant pointers for further developments in Biblical criticism and interpretation theory.

Driven by such diverse advances as the Human Genome Project and the explosion of the World Wide Web, and also by the threat of human-inspired disasters such as global warming, the field of science and literature studies is currently undergoing an unprecedented expansion. The relations between science and literature have been and continue to be central to understanding Hispanic civilization and culture. In spite of this, "Science, Literature, and Film in the Spanish-Speaking World" is the first and only book to treat this new and dynamic field from an Hispanic perspective. This unique volume opens the door to an entirely new focus in the study of Hispanic literature and culture.

'What, in theory, is style? How has style been rethought in literary theory?' Drawing together leading academics working within and across the disciplines of English, philosophy, literary theory, and comparative literature, Style in Theory: Between Philosophy and Literature sets out to rethink the important but all-too-often-overlooked issue of style, exploring in particular how the theoretical humanities open conceptual spaces that afford and encourage reflection on the nature of style, the ways in which style is experienced and how style allows disciplinary boundaries to be both drawn and transgressed. Offering incisive reflections on style from a diverse and contemporary range of theoretical and methodological perspectives, the essays contained in this volume critically revisit and challenge accepted accounts of style, and provide fresh and compelling readings of the relevance in any rethinking of style of specific works by the likes of Shakespeare, Petrarch, Kant, Nietzsche, Heidegger, Deleuze, Blanchot, Derrida, Nancy, Cixous and Meillassoux.

Not a general dictionary of literary terms, the Dictionary of Concepts in Literary Criticism and Theory treats seventy fundamental and overarching concepts from allegory and allusion to tragedy and unity. By "concepts" is meant broad terms that designate modes of thought about, approaches to, or major classifications of literature that are of central importance to the history or present pursuit of literary criticism and commentary. Particular attention has been given to distinguishing the different senses in which a term has been used or is presently used, to noting major questions that have been debated in relation to the concept, and to documenting points of view and specific aspects with full references. Additional sources of information are appended in each case. Useful especially to students and faculty in literature and to literary critics, the concepts are lucidly presented in essays that can enlighten any reader interested in more than superficial definitions.

Stanley Cavell and English Romanticism serves as both introduction to Cavell for Romanticists, and to the larger question of what philosophy means for the reading of literature, as well as to the importance and relevance of Romantic literature to Cavell's thought. Illustrated through close readings of Wordsworth and Shelley, and extended discussions of Emerson and Thoreau as well as Cavell, Duffy proposes a Romanticism of persisting cultural relevance and truly trans-Atlantic scope. The turn to romanticism of America's most distinguished "ordinary-language" philosopher is shown to be tied to the neo-Romantic claim that far from being merely an illustrator of the truths discovered by philosophy, poetry is its equal partner in the instituting of knowledge. This book will be vital reading for anyone interested in Romanticism, Stanley Cavell and the ever-deepening connections between literature and philosophy.

In this book, economists and literary scholars examine the uses to which the Robinson Crusoe figure has been put by the economics discipline since the publication of Defoe's novel in 1719. The authors' critical readings of two centuries of texts that have made use of Robinson Crusoe undermine the pervasive belief of mainstream economics that Robinson Crusoe is a benign representative of economic agency, and that he, like other economic agents, can be understood independently of historical and cultural specificity. The book provides a detailed account of the appearance of Robinson Crusoe in the economics literature and in a plethora of modern economics texts, in which, for example, we find Crusoe is portrayed as a schizophrenic consumer/producer trying to maximize his personal well-being. Using poststructuralist, feminist, postcolonial, Marxist and literary criticism approaches, the authors of the fourteen chapters in this volume examine and critique some of the deepest, fundamental assumptions neoclassical economics hold about human nature; the political economy of colonization; international trade; and the pervasive gendered organization of social relations. The contributors to this volume can be seen as engaging in the emerging conversation between economists and literary scholars known as the New Economic Criticism. They offer unique perspectives on how the economy and economic thought can be read through different disciplinary lenses. Economists pay attention to rhetoric and metaphor deployed in economics, and literary scholars have found new areas to explore and understand by focusing on economic concepts and vocabulary encountered in literary texts.

W. B. Yeats, T. S. Eliot, Ezra Pound, H. D., and David Jones, major poets of the early twentieth century, were fully involved in the historic conflict between religion and science. Jacob Korg's study illuminates the manner in which they attempted to overcome the division between the two cultures - by incorporating elements of religious ritual as well as scientific experiment in their poems. Known primarily as innovators who devised new methods of artistic expression, these poets also employed ritual, a form even more ancient than myth, side by side with their experimental ventures. Through close study of their major poems, Korg shows that the interplay between these apparently contradictory principles was a persistent theme of modern poetry that played an important part in the poetic revolution of the time.

Dialogue is a many-sided critical concept; at once an ancient philosophical genre, a formal component of fiction and drama, a model for the relationship of writer and reader, and a theoretical key to the nature of language. In all its forms, it questions ?literature?, disturbing the singleness and fixity of the written text with the fluid interactivity of conversation.

In this clear and concise guide to the multiple significance of the term, Peter Womack:

• outlines the history of dialogue form, looking at Platonic, Renaissance, Enlightenment and Modern examples
• illustrates the play of dialogue in the many ?voices? of the novel, and considers how dialogue works on the stage
• interprets the influential dialogic theories of Mikhail Bakhtin
• examines the idea that literary study itself consists of a ?dialogue? with the past
• presents a useful glossary and further reading section.

Practical and thought-provoking, this volume is the ideal starting-point for the exploration of this diverse and fascinating literary form.

Since the publication of his mammoth work, Being and Time, Martin Heidegger has remained one of the most influential figures in contemporary thought, and is a key influence for modern literary and cultural theory.

This guidebook provides an ideal entry-point for readers new to Heidegger, outlining such issues and concepts as:

• the limits of 'theory'
• the history of being
• the origin of the work of art
• language
• the literary work
• poetry and the political
• Heidegger's involvement with Nazism.

Fully updated throughout and featuring a new section on enviromental thought and ecocriticism, this guidebook clearly and concisely introduces Heidegger's crucial work relating to art, language and poetry, and outlines his continuing influence on critical theory.

This volume advances a comprehensive transdisciplinary approach to the affective lives of institutions - theoretical, conceptual, empirical, and critical. With this approach, the volume foregrounds the role of affect in sustaining as well as transforming institutional arrangements that are deeply problematic. As part of its analysis, this book develops a novel understanding of institutional affect. It explores how institutions produce, frame, and condition affective dynamics and emotional repertoires, in ways that engender conformance or resistance to institutional requirements. This collection of works will be important for scholars and students of interdisciplinary affect and emotion studies from a wide range of disciplines, including social sciences, cultural studies, social and cultural anthropology, organizational and institution studies, media studies, social philosophy, aesthetics, and critical theory.

This unique book examines the psychanalysis of madness and trauma through an extended discussion of Tristram Shandy. Crossover between literary studies and psychoanalysis. Francoise Davoine explores the entire novel, taking a psychoanalytic lens to the monologue by Tristram's embryo in the opening chapter, the war traumas of Captain Toby and Corporal Trim, and several key themes including confinement, love and history. The book presents Shandean wit as a valuable tool in therapeutic work.

An Introduction to Poetic Forms offers specimen discussions of poems through the lens of form. While each of its chapters does provide a standard definition of the form in question in its opening paragraphs, their main objective is to provide readings of specific examples to illustrate how individual poets have deviated from or subverted those expectations usually associated with the form under discussion. While providing the most vital information on the most widely taught forms of poetry, then, this collection will very quickly demonstrate that counting syllables and naming rhyme schemes is not the be-all and end-all of poetic form. Instead, each chapter will contain cross-references to other literary forms and periods as well as make clear the importance of the respective form to the culture at large: be it the democratising communicative power of the ballad or the objectifying male gaze of the blazon and resistance to same in the contreblazon - the efficacy of form is explored in the fullness of its cultural dimensions. In using standard definitions only as a starting point and instead focusing on lively debates around the cultural impact of poetic form, the textbook helps students and instructors to see poetic forms not as a static and lifeless affair but as living, breathing testament to the ongoing evolution of cultural debates. In the final analysis, the book is interested in showing the complexities and contradictions inherent in the very nature of literary form itself: how each concrete example deviates from the standard template while at the same time employing it as a foil to generate meaning.

In High Theory/Low Culture , Brottman uses the tools of 'high' cultural theory to examine many areas of today's popular culture, including style magazines, sport, shopping, tabloid newspapers, horror movies and pornography. In doing so, she not only demonstrates the practical use of 'high' theory as it relates to our everyday world, but she also investigates the kinds of 'low' culture that are regularly dismissed by academic scholars. Through a close examination of these cultural forms, Brottman reveals how the kinds of popular culture that we usually take for granted are, in fact, far more complex and sophisticated than is normally assumed.

This edited collection brings together an international, interdisciplinary group of scholars who together offer cutting-edge insights into the complex roles, functions, and effects of pronouns in literary texts. The book engages with a range of text-types, including poetry, drama, and prose from different periods and regions, in English and in translation. Beginning with analyses of the first-person pronoun, it moves onto studies of the subject dynamics of first- and second-person, before considering plural modes of narration and how pronoun use can help to disperse narrative perspective. The volume then debates the functional constraints of pronouns in fictional contexts and finally reflects upon the theoretical advancements presented in the collection. This innovative volume will appeal to students and scholars of linguistics, stylistics and cognitive poetics, narratology, theoretical and applied linguistics, psychology and literary criticism.

Even when there is no direct contact, artists and writers develop many comparable techniques for coping with problems specific to their time. In "Modernist Patterns," Murray Roston explores the relationships between modernist artists and writers and their responses to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith.

By placing the literary works of such writers as T.S. Eliot, Virginia Woolf, James Joyce, and Ernest Hemingway within the context of the changes that occurred in the visual arts, "Modernist Patterns" expands our understanding of literature and identifies the cultural shifts that generated stylistic innovations within the visual arts.

The popularity of romance fiction is such that it constitutes nearly one quarter of new paperback fiction printed in the world. Its success depends on its ability to reflect and articulate the reader's aspirations for a better life and stands at the same time as a testament to her alienation. This fresh look at the romantic fiction seeks to discover the reason for its appeal by combining analysis of the poetics of the genre with a study of the real reader's intervention.

Romantic Visualities offers a culturally informed understanding of the literary significance of landscape in the Romantic period. Labbe argues that the Romantic period associated the prospect view with the masculine ideal, simultaneously fashioning the detailed point of view as feminised. An interdisciplinary study, it discusses the cultural construction of gender as defined through landscape viewing, and investigates property law, aesthetic tracts, conduct books, travel narratives, artistic theory, and the work of Wordsworth, Keats, Coleridge, Charlotte Smith, Ann Francis, Dorothy Wordsworth and others.

Critical theory and dystopia offers a uniquely rich study of dystopian fiction, drawing on the insights of critical theory. Asking what ideological work these dark imaginings perform, the book reconstructs the historical emergence, consolidation and transformation of the genre across the twentieth century and into our own, ranging from Yevgeny Zamayatin's We (1924) and Aldous Huxley's Brave New World (1932) to Anthony Burgess's A Clockwork Orange (1963) and Suzanne Collins's Hunger Games series (2000s and 2010s). In doing so, it reveals the political logics opened up or neutered by the successive moments of this dystopian history. -- .

Exploring the meaning of modernism, this work focuses on the journey taken by Hardy, Lawrence and Woolf towards unknown regions of the mind and the universe. In a discussion of these novelists, both individually and in relation to one another, a reconsideration of modernism is developed. It aims to show the hypothetical train of Hardy, Lawrence and Woolf not following an existing track but tunnelling beneath surfaces.

This book is about Anglo-American literary heritage. It argues that readers on both sides of the Atlantic shaped the contours of international 'English' in the 1800s, expressing love for books and authors in a wide range of media and social practices. It highlights how, in the wake of American independence, the affection bestowed on authors who became international objects of celebration and commemoration was a major force in the invention of transnational 'English' literature, the popular canon defined by shared language and tradition. While love as such is difficult to quantify and recover, the records of such affection survive not just in print, but also in other media: in monuments, in architecture, and in the ephemera of material culture. Thus, this collection brings into view a wide range of nineteenth-century expressions of love for literature and its creators.