In the summer of 1923 Virginia Woolf's nephews, Quentin and Julian Bell, started a family newspaper, The Charleston Bulletin. Quentin decided to ask his aunt Virginia for a contribution: 'it seemed stupid to have a real author so close at hand and not have her contribute.' Woolf joined forces with Quentin, and from 1923 until 1927 they created fully-fledged booklets of stories and drawings that were announced as Supplements. Written or dictated by Woolf and illustrated by Quentin, these Supplements present a unique collaboration between the novelist during her most prolific years and the child-painter. In Virginia Woolf, Quentin Bell not only found a professional author and an experienced journalist, but, above all, a close companion and conspirator who shared his irreverence and mischievous sense of humour. The Supplements are transcribed in full here for the first time alongside around 40 of Bell's original illustrations. Designed to tease the adults, they portray Bloomsbury eccentricities along with the foibles and mishaps of the residents and visitors at Charleston. This is the first time the Supplements have been published since they were first written and will therefore be welcomed by fans of Woolf and her circle.

'The danger is in the neatness of identifications', Samuel Beckett famously stated, and, at first glance, no two authors could be further distant from one another than William Shakespeare and Samuel Beckett. This book addresses the vast intertextual network between the works of both writers and explores the resonant correspondences between them. It analyses where and how these resonances manifest themselves in their aesthetics, theatre, language and form. It traces convergences and inversions across both oeuvres that resound beyond their conditions of production and possibility. Uncovering hitherto unexplored relations between the texts of an early modern and a late modern author, this study seeks to offer fresh readings of single passages and entire works, but it will also describe productive tensions and creative incongruences between them.

The multilingualism and polyphony of Jewish literary writing across the globe demands a collaborative, comparative, and interdisciplinary investigation into questions regarding methods of researching and teaching literatures. Disseminating Jewish Literatures compiles case studies that represent a broad range of epistemological and textual approaches to the curricula and research programs of literature departments in Europe, Israel, and the United States. In doing so, it promotes the integration of Jewish literatures into national philologies and the implementation of comparative, transnational approaches to the reading, teaching, and researching of literatures. Instead of a dichotomizing approach, Disseminating Jewish Literatures endorses an exhaustive, comprehensive conceptualization of the Jewish literary corpus across languages. Included in this volume are essays on literatures in Arabic, English, French, German, Hebrew, Hungarian, Italian, Polish, Portuguese, Russian, Spanish, and Turkish, as well as essays reflecting the fields of Yiddish philology and Latin American studies. The volume is based on the papers presented at the Gentner Symposium funded by the Minerva Foundation, held at the Freie Universitat Berlin in June 2018.

The category of vision is significant for Modernist texts as well as for the unfolding discourse of Modernism itself. Within the general Modernist fascination with the artistic and experimental possibilities of vision and perception this study looks at Virginia Woolf's novels and her critical writings and examines the relation between visuality and aesthetics. An aesthetics of vision, as this study argues, becomes a productive principle of narrative. The visual is not only pertinent to Woolf's processes of composition, but her works create a kind of vision that is proper to the text itself - a vision that reflects on the experience of seeing and renegotiates the relation between the reader and the text. The study investigates key dimensions of aesthetic vision. It addresses vision in the context of theories of aesthetic experience and identifies a semantics of seeing. It analyses functions of symbolic materiality in the presentation of boundaries of perception, modes of temporality and poetic potentialities. In exploring the connections between vision and language, it seeks to provide new perspectives for a reassessment of what occurs in Modernism's relation to vision.

The category of vision is significant for Modernist texts as well as for the unfolding discourse of Modernism itself. Within the general Modernist fascination with the artistic and experimental possibilities of vision and perception this study looks at Virginia Woolf's novels and her critical writings and examines the relation between visuality and aesthetics. An aesthetics of vision, as this study argues, becomes a productive principle of narrative. The visual is not only pertinent to Woolf's processes of composition, but her works create a kind of vision that is proper to the text itself - a vision that reflects on the experience of seeing and renegotiates the relation between the reader and the text. The study investigates key dimensions of aesthetic vision. It addresses vision in the context of theories of aesthetic experience and identifies a semantics of seeing. It analyses functions of symbolic materiality in the presentation of boundaries of perception, modes of temporality and poetic potentialities. In exploring the connections between vision and language, it seeks to provide new perspectives for a reassessment of what occurs in Modernism's relation to vision.

This volume is an inquiry into the philosophical, theological and aesthetic relevance of perfection. The main focus is on medieval and early modern arts. Contributions from English, German and Romance language and literature, as well as from theology, look at works from the Church fathers to Gottfried of Strasbourg, Dante, Petrarca and Shakespeare, as well as Andrew Marvell.

The volume enquires into the relationship between philosophy and aesthetics in Late Antiquity. Is the sensuous beauty of art a medium for the highest thinkable truth? And if this can be called a ~aestheticsa (TM), how has it changed over the centuries and what is its significance for the theory of art today? The contributors a " experts in systematic philosophy and literary studies from a variety of disciplines a " work on this transdisciplinary topic using concrete examples from the Middle Ages to Post-modernism and examine the scope and transformations of this fundamental insight up to the present day.