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Books > Language & Literature > Literature: history & criticism > Novels, other prose & writers
Organized by heretical movements and texts from the Gnostic Gospels
to The Book of Mormon, this book uses the work of James Joyce -
particularly Ulysses and Finnegan's Wake - as a prism to explore
how the history of Christian heresy remains part of how we read,
write, and think about books today. Erickson argues that the study
of classical, medieval, and modern debates over heresy and
orthodoxy provide new ways of understanding modernist literature
and literary theory. Using Joyce's works as a springboard to
explore different perspectives and intersections of 20th century
literature and the modern literary and religious imagination, this
book gives us new insights into how our modern and "secular"
reading practices unintentionally reflect how we understand our
religious histories.
What is the ocean's role in human and planetary history? How have
writers, sailors, painters, scientists, historians, and
philosophers from across time and space poetically envisioned the
oceans and depicted human entanglements with the sea? In order to
answer these questions, Soren Frank covers an impressive range of
material in A Poetic History of the Oceans: Greek, Roman and
Biblical texts, an Icelandic Saga, Shakespearean drama, Jens Munk's
logbook, 19th century-writers such as James Fenimore Cooper, Herman
Melville, Jules Michelet, Victor Hugo, Jules Verne, Jonas Lie, and
Joseph Conrad as well as their 20th and 21st century-heirs like J.
G. Ballard, Jens Bjorneboe, and Siri Ranva Hjelm Jacobsen. A Poetic
History of the Oceans promotes what Frank labels an amphibian
comparative literature and mobilises recent theoretical concepts
and methodological developments in Blue Humanities, Blue Ecology,
and New Materialism to shed new light on well-known texts and
introduce readers to important, but lesser-known Scandinavian
literary engagements with the sea.
European culture in the seventeenth and eighteenth centuries
witnessed a radical redefinition of 'humanity' and its place in the
environment, together with a new understanding of animals and their
relation to humans. In examining the dynamics of animal-human
relations as embodied in the literature, art, farming practices,
natural history, religion and philosophy of this period, leading
experts explore the roots of much current thinking on interspecies
morality and animal welfare. The animal-human relationship
challenged not only disciplinary boundaries - between poetry and
science, art and animal husbandry, natural history and fiction -
but also the basic assumptions of human intellectual and cultural
activity, expression, and self-perception. This is specifically
apparent in the re-evaluation of sentiment and sensibility, which
constitutes a major theme of this chronologically organised volume.
Authors engage with contemporary reactions to the commodification
of animals during the period of British imperialism, tracing how
eighteenth-century ecological consciousness and notions of animal
identity and welfare emerged from earlier, traditional models of
the cosmos, and reassessing late eighteenth-century poetic
representations of the sentimental encounter with the animal other.
They show how human experience was no longer viewed as an iterative
process but as one continually shaped by the other. In concluding
chapters authors highlight the political resonances of the
animal-human relationship as it was used both to represent and to
redress the injustices between humans as well as between humans and
animals. Through a multifaceted study of eighteenth-century
European culture, authors reveal how the animal presence - both
real and imagined - forces a different reading not only of texts
but also of society.
Focusing on relationships between Jewish American authors and
Jewish authors elsewhere in America, Europe, and Israel, this book
explores the phenomenon of authorial affiliation: the ways in which
writers intentionally highlight and perform their connections with
other writers. Starting with Philip Roth as an entry point and
recurring example, David Hadar reveals a larger network of authors
involved in formations of Jewish American literary identity,
including among others Cynthia Ozick, Saul Bellow, Nicole Krauss,
and Nathan Englander. He also shows how Israeli writers such as
Sayed Kashua perform their own identities through connections to
Jewish Americans. Whether by incorporating other writers into
fictional work as characters, interviewing them, publishing
critical essays about them, or invoking them in paratext or
publicity, writers use a variety of methods to forge public
personas, craft their own identities as artists, and infuse their
art with meaningful cultural associations. Hadar's analysis deepens
our understanding of Jewish American and Israeli literature,
positioning them in decentered relation with one another as well as
with European writing. The result is a thought-provoking challenge
to the concept of homeland that recasts each of these literary
traditions as diasporic and questions the oft-assumed centrality of
Hebrew and Yiddish to global Jewish literature. In the process,
Hadar offers an approach to studying authorial identity-building
relevant beyond the field of Jewish literature.
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.
Classical Studies is Volume 8 in the ten-volume Collected Works of
Walter Pater. Among Victorian writers, Pater (1839-1894) challenged
academic and religious orthodoxies, defended 'the love of art for
its own sake', developed a new genre of prose fiction (the
'imaginary portrait'), set new standards for intermedial and
cross-disciplinary criticism, and made 'style' the watchword for
creativity and life. Pater carried this spirit into his studies of
Greek mythology and sculpture in the 1870s and 1880s-among the most
important encounters of any Victorian writer with the classical
tradition. Pater's classical studies offer revisionary accounts of
the myths of Demeter and Persephone and Dionysus and undertake
original interpretations of the history of Greek sculpture and
tragedy. Deeply informed by, but never beholden to, the verities of
classical scholarship, Pater approaches Greek myth and art from the
perspective of what he famously called 'aesthetic criticism': with
an eye to their beauty and the ways they speak to modern life.
Pater's interpretations of classical culture cut against the grain
of the high Victorian appreciation of ancient Greece, which
imagined a placid world of reason and pure white beauty. Like his
contemporary Friedrich Nietzsche, Pater is by contrast attentive to
the dark side of antiquity, highlighting its depths of emotion, its
dissident sexuality, its gaudy colours, and its transgressive
challenges to the ruling order. These essays were highly
influential among Pater's younger contemporaries, and would later
inform works like James Joyce's Ulysses, which likewise traces
links between ancient Greece and modern life.
This book explores queer identity in Morocco through the work of
author and LGBT activist Abdellah Taia, who defied the country's
anti-homosexuality laws by publicly coming out in 2006. Engaging
postcolonial, queer and literary theory, Tina Dransfeldt
Christensen examines Taia's art and activism in the context of the
wider debates around sexuality in Morocco. Placing key novels such
as Salvation Army and Infidels in dialogue with Moroccan writers
including Driss Chraibi and Abdelkebir Khatibi, she shows how Taia
draws upon a long tradition of politically committed art in Morocco
to subvert traditional notions of heteronormativity. By giving
space to silenced or otherwise marginalised voices, she shows how
his writings offer a powerful critique of discourses of class,
authenticity, culture and nationality in Morocco and North Africa.
Since his death in 1969, the legend of Jack Kerouac, 'King of the
Beats', has continued to grow. Clark's biography reveals the
essential Kerouac, often through his own words and writings.
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.
This title is part of UC Press's Voices Revived program, which
commemorates University of California Press's mission to seek out
and cultivate the brightest minds and give them voice, reach, and
impact. Drawing on a backlist dating to 1893, Voices Revived makes
high-quality, peer-reviewed scholarship accessible once again using
print-on-demand technology. This title was originally published in
1972.
William Marston was an unusual man-a psychologist, a soft-porn pulp
novelist, more than a bit of a carny, and the (self-declared)
inventor of the lie detector. He was also the creator of Wonder
Woman, the comic that he used to express two of his greatest
passions: feminism and women in bondage. Comics expert Noah
Berlatsky takes us on a wild ride through the Wonder Woman comics
of the 1940s, vividly illustrating how Marston's many quirks and
contradictions, along with the odd disproportionate composition
created by illustrator Harry Peter, produced a comic that was
radically ahead of its time in terms of its bold presentation of
female power and sexuality. Himself a committed polyamorist,
Marston created a universe that was friendly to queer sexualities
and lifestyles, from kink to lesbianism to cross-dressing. Written
with a deep affection for the fantastically pulpy elements of the
early Wonder Woman comics, from invisible jets to giant
multi-lunged space kangaroos, the book also reveals how the comic
addressed serious, even taboo issues like rape and incest. Wonder
Woman: Bondage and Feminism in the Marston/Peter Comics 1941-1948
reveals how illustrator and writer came together to create a
unique, visionary work of art, filled with bizarre ambition,
revolutionary fervor, and love, far different from the action hero
symbol of the feminist movement many of us recall from television.
York Notes Advanced offer a fresh and accessible approach to
English Literature. This market-leading series has been completely
updated to meet the needs of today's A-level and undergraduate
students. Written by established literature experts, York Notes
Advanced intorduce students to more sophisticated analysis, a range
of critical perspectives and wider contexts.
Faulkner, Aviation, and Modern War frames William Faulkner's
airplane narratives against major scenes of the early 20th century:
the Great War, the rise of European fascism in the 1920s and 30s,
the Second World War, and the aviation arms race extending from the
Wright Flyer in 1903 into the Cold War era. Placing biographical
accounts of Faulkner's time in the Royal Air Force Canada against
analysis of such works as Soldiers' Pay (1926), "All the Dead
Pilots" (1931), Pylon (1935), and A Fable (1954), this book
situates Faulkner's aviation writing within transatlantic
historical contexts that have not been sufficiently appreciated in
Faulkner's work. Michael Zeitlin unpacks a broad selection of
Faulkner's novels, stories, film treatments, essays, book reviews,
and letters to outline Faulkner's complex and ambivalent
relationship to the ideologies of masculine performance and martial
heroism in an age dominated by industrialism and military
technology.
An Open Access edition of this book is available on the Liverpool
University Press website and the OAPEN library. Michel Houellebecq
is perhaps the single most successful and controversial of all
contemporary novelists writing in French. Houellebecq has become a
global publishing phenomenon: his books have been translated
worldwide, three film adaptations of his work have been produced,
and the author has been the subject of million-euro publishing
deals and of successive media scandals in France. If Houellebecq is
unique in contemporary French writing, it is thanks not only to his
extraordinary success, but to the unparalleled scope of his
narrative ambition. In the work which most forcefully marked his
breakthrough to the mainstream - Les Particules elementaires -
Houellebecq made a significant appeal to the science-fiction genre
in order to undergird his critique of contemporary society. For
Houellebecq presents humanity - at least modern, western humanity -
as in a terminal state of decadence and decline and ripe for
replacement by its post-human successor. His novels narrate a
metaphysical mutation or paradigm shift through which humanity as
we know it ceases to be the over-riding value or focus of our world
when it comes into conflict with a competitor in the form of a
post-human or neo-human species. It is the aim of this book to
appraise the global significance of Houellebecq's novelistic
visions while at the same time situating them within the context of
French literature, culture and society.
York Notes Advanced offer a fresh and accessible approach to
English Literature. This market-leading series has been completely
updated to meet the needs of today's A-level and undergraduate
students. Written by established literature experts, York Notes
Advanced intorduce students to more sophisticated analysis, a range
of critical perspectives and wider contexts.
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