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.

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.

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.

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.

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.

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.

The retirement of the distinguished philosopher Jurgen Habermas from his chair at the University of Frankfurt signalled an important caesura in the history of Critical Theory: the transition from the Habermasian project, to different forms of inquiry in the work of the next generation. This change-over happens at a time when it has become clear that Habermas's systematic exploration of communicative rationality has reached the point where both its achievements and its limitations had become evident. The essays collected in this volume address the problems connected with this transition, partly by returning to the insights of the first generation (Adorno and Benjamin), partly by focusing on questions raised by Habermas's work. Whatever the difference in the authors' positions, this collection gains its unity through their common interest in the significance and value of Critical Theory today and in its future as a philosophical project.

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.

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.

What do we mean by 'voice' in poetry? In this work, David Nowell Smith teases out the diverse meanings of 'voice', from a poem's soundworld to the rhetorical gestures through which poems speak to us, in order to embark on a philosophical exploration of the concept of voice itself.

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.

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.

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.

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.

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.

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.

Attending to the mid-Victorian boys' adventure novel and its connections with missionary culture, Michelle Elleray investigates how empire was conveyed to Victorian children in popular forms, with a focus on the South Pacific as a key location of adventure tales and missionary efforts. The volume draws on an evangelical narrative about the formation of coral islands to demonstrate that missionary investments in the socially marginal (the young, the working class, the racial other) generated new forms of agency that are legible in the mid-Victorian boys' adventure novel, even as that agency was subordinated to Christian values identified with the British middle class. Situating novels by Frederick Marryat, R. M. Ballantyne and W. H. G. Kingston in the periodical culture of the missionary enterprise, this volume newly historicizes British children's textual interactions with the South Pacific and its peoples. Although the mid-Victorian authors examined here portray British presence in imperial spaces as a moral imperative, our understanding of the "adventurer" is transformed from the plucky explorer to the cynical mercenary through Robert Louis Stevenson, who provides a late-nineteenth-century critique of the imperial and missionary assumptions that subtended the mid-Victorian boys' adventure novel of his youth.

This book offers a comprehensive and engaging introduction to the work of Homi K. Bhabha, a key figure in both post-colonial and post-structuralist theory.It outlines the key principles behind Bhabha's work and offers readings of widely-studied literary texts. It is clear and accessible for students.This comprehensive introduction to the work of Homi K. Bhabha, a key figure in both post-colonial and post-structuralist theory, is accessible and engaging. Like other titles in the Transitions series, the book first outlines the key principles behind his work and then uses this outline to offer readings of widely-studied literary texts.

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.

Although the body has recently emerged throughout the humanities and social sciences as an object revealing the power and limits of representation, the study of narrative has almost entirely ignored human corporeality. As this book shows, attention to the body raises uncomfortable questions about the historicity of basic narrative concepts like character, plot, and narration--questions that critics would often prefer to ignore. Daniel Punday argues that narrative itself is a concept constructed by modern-day critics based on assumptions about identity, desire, movement and place that depend on modern ways of thinking about corporeality.

What might be the outcome for philosophy if its texts were subjected to the powerful techniques of rhetorical close-reading developed by current deconstructionist literary critics? When first published in 1983, Christopher Norris' book was the first to explore such questions in the context of modern analytic and linguistic philosophy, opening up a new and challenging dimension of inter-disciplinary study and creating a fresh and productive dialogue between philosophy and literary theory.

Urban Enlightenment and the Eighteenth-Century Periodical Essay is the first extensive literary history of the eighteenth-century British periodical essay, and the first to examine the critical reception and canonizing of the genre in a transatlantic context. Drawing on a wide range of early Modern and Enlightenment essays, character writings and critical reviews, it argues that authors on both sides of the Atlantic came to regard the periodical essay as a literary means of transmitting moral-civic wisdom to posterity. As it traces the developments and changes in the genre across the century, this study devotes special attention to important but lesser-read mid-century London serials like the" World" and "Connoisseur," the "Edinburgh Mirror" and "Lounger," and Washington Irving's "Salmagundi." By recovering the conception of literary citizenship that grounds these serials' claims to the notice of posterity, "Urban Enlightenment" gives new insights into the historical character of the Enlightenment literary public sphere.

Written from diverse perspectives, the eleven essays that make up "Vargas Llosa and Latin American Politics" portray the Nobel Prize-winning Peruvian novelist not only as one of the most celebrated writers of the last 50 years, but also as a central influence on the region's political evolution. Ever since his conversion to free market ideology in the 1980s, Mario Vargas Llosa has waged public battle against what he believes are the scourges of socialism and populism. This book studies the fiction and journalism of Vargas Llosa in the context of his political thought.

Revealing the web of mutual influences between nineteenth-century scientific and cultural discourses of appearance, Mimicry and Display in Victorian Literary Culture argues that Victorian science and culture biologized appearance, reimagining imitation, concealment and self-presentation as evolutionary adaptations. Exploring how studies of animal crypsis and visibility drew on artistic theory and techniques to reconceptualise nature as a realm of signs and interpretation, Abberley shows that in turn, this science complicated religious views of nature as a text of divine meanings, inspiring literary authors to rethink human appearances and perceptions through a Darwinian lens. Providing fresh insights into writers from Alfred Russel Wallace and Thomas Hardy to Oscar Wilde and Charlotte Perkins Gilman, Abberley reveals how the biology of appearance generated new understandings of deception, identity and creativity; reacted upon narrative forms such as crime fiction and the pastoral; and infused the rhetoric of cultural criticism and political activism.