The "Author Chronologies Series" aims to provide a means whereby the precise chronological facts of an author's life and career can be seen at a glance. This chronology provides a synopsis of Joyce's first years in Dublin and, from 1900, a more detailed account of his life there and attempts to become established as a writer when living mainly in Trieste and Zurich; and finally (when he became world-famous) Paris, concluding with his death in 1941.

James Joyce was one do the most influential modernists of the 20th century - famous for developing the 'stream of consciousness' technique in writing. In a millennial survey, "Ulysses" was voted the most popular novel of the century. The "Preface Books" series approaches the work of Joyce from a particular perspective which, by introducing the writer via a biographical sketch and a survey of his cultural and social context, encourages readers to understand his work in the period it was written. Sydney bolt's A Preface to Joyce provides a fascinating account of one of the greatest twentieth-century writers and will be essential reading for anyone interested in reading the works of Joyce.

Literary fiction is a powerful cultural tool for criticizing governments and for imagining how better governance and better states would work. Combining political theory with strong readings of a vast range of novels, John Marx shows that fiction over the long twentieth century has often envisioned good government not in Utopian but in pragmatic terms. Early-twentieth-century novels by Joseph Conrad, E. M. Forster and Rabindrananth Tagore helped forecast world government after European imperialism. Twenty-first-century novelists such as Monica Ali, Chimamanda Ngozi Adichie, Michael Ondaatje and Amitav Ghosh have inherited that legacy and continue to criticize existing policies in order to formulate best practices on a global scale. Marx shows how literature can make an important contribution to political and social sciences by creating a space to imagine and experiment with social organization.

This stimulating study takes a fresh look at two of Dickens' most widely-studied texts. Part I uses carefully selected short extracts for close textual analysis, while Part II examines the historical and literary contexts and key criticism. The volume is an ideal introductory guide for those who are studying Dickens' novels for the first time.

A Preface to Hardy remains the best introduction to one of the most important and popular writers in English literature. The first section concentrates on Hardy the man and outlines the intellectual and cultural context in which he lived. The author then moves on to examine a wide range of Hardy's work, with particular reference to The Mayor of Casterbridge. There is new material on Hardy's short stories and their relation to the major novels, and on The Dynasts, which accompanies a study of a range of Hardy's other poetry.

Jane Austen's satirical classical novels have made a lasting contribution to English literature and first gave the novel its distinctly modern character with the treatment of ordinary people in everyday life. Her works, such as Pride and Prejudice, Emma andMansfield Park, remain as popular today as they ever have been, both in book form and a screen adaptations. The Preface Books series approaches the work of Jane Austen from a particular perspective which, by introducing the writer via a biographical sketch and a survey of her cultural and social context, encourages readers to understand her work in the period and style it was written. Christopher Gillie's A Preface to Austen looks at Austen's life and literary background and their effect on her work. Using biographical information, it clearly sets her writing firmly in the context of her times and will be essential reading for anyone interested in the works of Austen.

'Longman Preface books are intended to give "modern and authoritative guidance" on the lives and works of the major writers ... Gamini Salgado's A Preface to Lawrence does just that.' Times Educational Supplement D. H. Lawrence, criticised, censored and dismissed in his lifetime, now stands as one of the major imaginative novelists of the early twentieth-century. Clear, vivid and convincing, Gamini Salgado's introduction to the life and works of D H Lawrence, sets the writer firmly in the context of his times and: * outlines his life and intellectual background, and their effect on his writing * looks in detail at many of Lawrence's works, including Sons and Lovers, The Rainbow, his shorter fiction, poetry and plays * examines Lawrence as a literary critic * covers important people and places in Lawrence's life and their effect on him Gamini Salgado was formerly Professor of English at Exeter University. His works include a book on Sons and Lovers (Arnold), an anthology of critisism of it (Macmillan) and a number of studies of drama and prose literature.

Gustave Flaubert is probably the most famous novelist of nineteenth-century France, and his best known work, "Madame Bovary, " is read in numerous comparative literature and French courses. His fiction set the standard to which other authors turned to learn their craft, and his cult of art and his unrelenting search for stylistic perfection inspired many later writers, such as Maupassant, Proust, Conrad, Faulkner, and Joyce. His denunciation of materialistic, corrupt society; his fascination with altered states of consciousness; his oscillation between metaphysical longings and a radical nihilism; and his deep-seated mistrust of the adequacy of words themselves anticipate the works of contemporary authors. This reference is a convenient guide to his life and writings.

Included in this volume are several hundred alphabetically arranged entries on Flaubert's individual works and major characters; historical persons and events that shaped his life; the themes that run throughout his writings; the critical approaches employed by scholars studying his works; and related topics of interest. Each entry is written by an expert contributor and most close with a brief bibliography. All of his major works are treated at length, and the volume mentions nearly every unpublished project of his that has a title. The book concludes with a selected, general bibliography of major studies.

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.

This book explores stylistic techniques that interweave different viewpoints in Modernist fiction. Consciousness was a central concern of the Modernist novel and there has been a strong critical interest in the techniques of its presentation. Critics are aware of the Modernist practice of refracting narratives through the consciousness of numerous characters, but while narratologists as well as stylisticians have studied the linguistic indices of narrative viewpoint, the linguistic mechanics of shifts across different characters' minds or across character's and narrator's voices have remained unexplored. This book offers the first stylistic analysis of the linguistic evidence and shows that the implications of such practices far exceed the attempt to simply juxtapose different characters' viewpoints and thereby interpret the narrative world through different perspectives; rather than simply co-existing in the tissue of the narrative, the viewpoints of D.H. Lawrence's and Virginia Woolf's characters are interconnected in dialogue that occurs at the interstices of viewpoint shifts. This is significant because it impacts on the very discourse of the novel itself as a genre, i.e. its dialogicity. James Joyce's rendering of consciousness intersects the voices of character and narrator, and this in turn implicates the reader in the construction of meaning. The identification of dialogic techniques in the presentation of consciousness serves to question a long accepted belief that the novel of consciousness is a novel of fragmentation and occlusion. Instead, the dialogic Modernism identified here suggests a more deliberate concern on the part of writers to engage directly with the philosophical questions of self and other that were being explored, in a very different format, by Heidegger, Bergson and Buber.

This collection of essays provides the first comprehensive critical study of women as subjects and creators of medieval and early modern Scottish writing between the early fifteenth and late seventeenth centuries. Essays examine canonical and non-canonical literary, historiographical, and religious texts written in the Scots, Gaelic, and English languages. Challenging the received literary and cultural history of medieval and early modern Scotland, this volume brings to texts and writers, both established and newly discovered, a range of new theoretical approaches

Using a wealth of diverse source material this book comprises an innovative critical study which, for the first time, examines Scott through the filter of his female contemporaries. It not only provides thought-provoking ideas about their handling of, for example, the love-plot, but also produces a different, more sombre Scott.

This book charts Fitzgerald's use of racial stereotypes to encode the dual nature of his literary ambition: his desire to be on the one hand a popular American entertainer, and on the other to make his mark among the elite members of an international literary field. Taking his cue from some under-appreciated stories, Michael Nowlin argues that Fitzgerald's early use of tropes from blackface minstrelsy anticipated his race-inflected treatment of divided artist figures in the major novels from "The Beautiful and Damned" to the unfinished "The Love of the Last Tycoon." At issue in all these novels, both formally and thematically, is the dynamic state of the modern, multi-faceted, and ethnically diverse American cultural field Fitzgerald was constantly re-negotiating in order to meet his goal of long-term literary success.

Elizabeth Bennet is Austen's most liberated and appealing heroine, and Pride and Prejudice has remained over most of the past two centuries Austen's most popular novel. The story turns on the marriage prospects of the five daughters of Mr. and Mrs. Bennet, and especially on Elizabeth's prejudice against the proud and distant Fitzwilliam Darcy. Pride and Prejudice is a romantic comedy that has been read as conservative and feminist, reactionary and revolutionary, rooted in the time of its composition and deliberately timeless. Robert Irvine's introduction sets the novel in the context of the literary and intellectual history of the period, dealing with such crucial background issues as class relations in Britain, female exclusion from property and power, and the impact of the French Revolution. The introduction and annotations have been expanded and updated for the new edition, and a new appendix of Austen's juvenilia has been added.

While books such as Belle de Jour's The Intimate Adventures of a London Call Girl and Catherine Millet's The Sexual Life of Catherine M. captured the imagination of the reading public and marked the contemporary erotic memoir as a publishing phenomenon, the genre has received comparatively scarce scholarly attention. Through examining the cultural dominance of the figure of the 'phallic girl' (or 'ladette') in the early 21st century, this pioneering study explores the conflict that arises when the female-authored erotic memoir - a genre that holds enormous feminist potential - is co-opted by postfeminist cultural praxis. By analyzing the impact of the mainstreaming of pornography and the emergence of new communication technologies on conceptualizations of intimacy, agency and feminine sexual subjectivities, Erotic Memoirs and Postfeminism presents a broad critical survey of the genre and positions contemporary women's erotic memoirs as contradictory spaces in which female sexual autonomy is both actively celebrated and perniciously disavowed. The book also offers the first sustained critical analysis of a range of contemporary memoirs, including Abby Lee's Girl with a One Track Mind, Melissa P.'s One Hundred Strokes of the Brush Before Bed and Tracy Quan's Diary of a Manhattan Call Girl, amongst others.

The Middle English popular romances enjoyed a wide appeal in later medieval Britain, and even today students of medieval literature will encounter examples of the genre, such as Sir Orfeo, Sir Tristrem, and Sir Launfal. This collection of twelve specially commissioned essays is designed to meet the need for a stimulating guide to the genre. Each essay introduces one popular romance, setting it in its literary and historical contexts, and develops an original interpretation that reveals the possibilities that popular romances offer for modern literary criticism. A substantial introduction by the editors discusses the production and transmission of popular romances in the Middle Ages, and considers the modern reception of popular romance and the interpretative challenges offered by new theoretical approaches. Accessible to advanced students of English, this book is also of interest to those working in the field of medieval studies, comparative literature, and popular culture.

"Henry James' Narrative Technique "situates Henry James' famous method within an emerging modernist tradition with roots in philosophical debates between rationalism and empiricism. This cogent study considers James' works in the context of nineteenth-century thought on consciousness, perception, and cognition. Kristin Boudreau makes the compelling argument that these philosophical discussions influenced James' depictions of consciousness and are integral to his narrative technique.

Throughout her fiction, Willa Cather mentioned forty-three operas. References to opera appear in all but three of her twelve novels and in roughly half of her short stories. Despite a dearth of musical education, Cather produced astute writing about the genre beginning in her earliest criticism and continuing throughout her career. She counted opera stars among her close friends, and according to Edith Lewis, her companion throughout adulthood, the two women frequently visited the theater, even in the early days, when purchasing tickets to attend performances proved a financial sacrifice. Melding cultural history with thoughtful readings of her works and discussions of opera's complex place in turn-of-the-century America, David McKay Powell's Cather and Opera offers the first book-length study of what drew the writer so powerfully and repeatedly to the art form. With close attention to Cather's fiction and criticism, Powell posits that at the heart of both her work and the operatic corpus dwells an innate tension between high artistic ideals and popular acceptance, often figured as a clash between compositional integrity and raw, personal emotion. Considering her connection to opera in both historical and intertextual terms, Cather and Opera investigates what operatic references mean in Cather's writing, along with what the opera represented to her throughout her life.

Hardy was a poet of ghosts. In his poetry he describes himself as posthumous; as rekindling the cinders of passion; as the guardian of the dead forgotten by history; and as haunted by ghosts, particularly the specter of the lost child (as in the rumor that he fathered a child in the 1860s). Using Derrida, Abraham, and Torok and other theorists, and referring to Victorian debates on materialism, this book investigates ghostliness, historicity, and memory in Hardy's poetry.

Irish detective fiction has enjoyed an international readership for over a decade, appearing on best-seller lists across the globe. But its breadth of hard-boiled and amateur detectives, historical fiction, and police procedurals has remained somewhat marginalized in academic scholarship. Exploring the work of some of its leading writers-including Peter Tremayne, John Connolly, Declan Hughes, Ken Bruen, Brian McGilloway, Stuart Neville, Tana French, Jane Casey, and Benjamin Black-The Contemporary Irish Detective Novel opens new ground in Irish literary criticism and genre studies. It considers the detective genre's position in Irish Studies and the standing of Irish authors within the detective novel tradition. Contributors: Carol Baraniuk, Nancy Marck Cantwell, Brian Cliff, Fiona Coffey, Charlotte J. Headrick, Andrew Kincaid, Audrey McNamara, and Shirley Peterson.

Women, Literature and Finance in Victorian Britain: Cultures of Investment defines the cultures that emerged in response to the democratization of the stock market in nineteenth-century Britain when investing provided access to financial independence for women. Victorian novels represent those economic networks in realistic detail and are preoccupied with the intertwined economic and affective lives of characters. Analyzing evidence about the lives of real investors together with fictional examples, including case studies of four authors who were also investors, Nancy Henry argues that investing was not just something women did in Victorian Britain; it was a distinctly modern way of thinking about independence, risk, global communities and the future in general.

From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or 'natural' storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using 'natural' narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.

Latin American Fiction and the Narratives of the Perverse contains analysis of sexual perversion and narrative creativity in fictions from the Latin American boom and post-boom. O'Connor's main argument is that orthodox criticism of Latin American literature has neglected the eccentric singularities of other fictive trends in the corpus (especially in the second half of the twentieth-century). At the same time, by examining these eccentric singularities in their relationship to mainstream trends in the Latin American corpus, O'Connor forces his readers to view these master narratives and major trends (such as modernismo or magical realism) from surprisingly new angles. Five of the authors discussed (Puig, Lezama, Lima, Cortazar and Sarduy) have an established place in the Latin American literary canon. A fifth one, Rosario Ferre, may have come close to achieving that status with her earlier fictions. Others (Felisberto Hernandez, Alicia Borinsky, Cristina Peri Rossi and Silvia Molloy) are less well known, but they are certainly highly significant authors for scholars and students of contemporary Latin American fiction.

This collection of essays explores some new possibilities for understanding postcolonial traumas. It examines representations of both personal and collective traumas around the globe from Palestinian, Caribbean, African American, South African, Maltese, Algerian, Indian, Australian and British writers, directors and artists.

In 1959, Walter M. Miller, Jr., culminated a brief publishing career of eight years with his only novel, " A Canticle for Leibowitz." Since that time he has not published another new piece of fiction, although it has been announced that the long anticipated second novel, a parallel work to Canticle, will soon be finished. That one book, however, along with a handful of short stories and novellas, has secured for him a position among the best and most original contemporary science fiction writers. More than thirty years after its publication, "Canticle" continues to be hailed as one of the greatest science fiction novels ever written and an important work of modern literature.

This reference guide presents a complete record of Miller's work and of the resulting criticism. The primary bibliography is divided into books, both English and foreign-language editions; short fiction in periodicals; anthologized works; nonfiction; and adaptations. In the books section, a physical description of English-language first editions is given. Annotations and content notes are provided as appropriate for the other sections, and characters in the short fiction are listed and identified. The secondary material, organized chronologically, contains annotated entries for articles and parts of books, reviews, and dissertations. Also included are a biographical and critical essay on Miller, glossaries of characters and terms and of allusions and other representations in "A Canticle for Leibowitz," and individual indexes for both the primary and secondary materials. Title pages, book covers, and jackets of the major works are reproduced.