Envisioning today's readers as poised between an impossible attempt to read texts as their original readers experienced them and an awareness of our own temporal moment, Simon Dentith complicates traditional prejudices against hindsight to approach issues of interpretation and historicity in nineteenth-century literature. Suggesting that the characteristic aesthetic attitude encouraged by the backward look is one of irony rather than remorse or regret, he examines works by Charles Dickens, George Eliot, Anthony Trollope, William Morris and John Ruskin in terms of their participation in significant histories that extend to this day. Liberalism, class, gender, political representation and notions of progress, utopianism and ecological concern as currently understood can be traced back to the nineteenth century. Just as today's critics strive to respect the authenticity of nineteenth-century writers and readers who responded to these ideas within their historical world, so, too, do those nineteenth-century imaginings persist to challenge the assumptions of the present. It is therefore possible, Dentith argues, to conceive of the act of reading historical literature with an awareness of the historical context and of the difference between the past and the present while allowing that friction or difference to be part of how we think about a text and how it communicates. His book summons us to consider how words travel to the reality of the reader's own time and how engagement with nineteenth-century writers' anticipation of the judgements of future generations reveal hindsight's capacity to transform our understanding of the past in the light of subsequent knowledge.

Envisioning today's readers as poised between an impossible attempt to read texts as their original readers experienced them and an awareness of our own temporal moment, Simon Dentith complicates traditional prejudices against hindsight to approach issues of interpretation and historicity in nineteenth-century literature. Suggesting that the characteristic aesthetic attitude encouraged by the backward look is one of irony rather than remorse or regret, he examines works by Charles Dickens, George Eliot, Anthony Trollope, William Morris and John Ruskin in terms of their participation in significant histories that extend to this day. Liberalism, class, gender, political representation and notions of progress, utopianism and ecological concern as currently understood can be traced back to the nineteenth century. Just as today's critics strive to respect the authenticity of nineteenth-century writers and readers who responded to these ideas within their historical world, so, too, do those nineteenth-century imaginings persist to challenge the assumptions of the present. It is therefore possible, Dentith argues, to conceive of the act of reading historical literature with an awareness of the historical context and of the difference between the past and the present while allowing that friction or difference to be part of how we think about a text and how it communicates. His book summons us to consider how words travel to the reality of the reader's own time and how engagement with nineteenth-century writers' anticipation of the judgements of future generations reveal hindsight's capacity to transform our understanding of the past in the light of subsequent knowledge.

Parody is part of all our lives. It occurs not only in literature, but also in everyday speech, in theatre and television, architecture and films. Drawing on examples from Aristophanes to The Simpsons, Simon Dentith explores:
* the place of parody in the history of literature
* parody as a subversive or conservative mode of writing
* parody's pivotal role in debates about postmodernism
* parody in the culture wars from ancient times to the present
This lively introduction situates parody at the heart of literary and cultural studies and offers a remarkably clear guide to this sometimes complex topic. Parody will serve as an essential resource, to be read and re-read by students of all levels.

In the nineteenth century, epic poetry in the Homeric style was widely seen as an ancient and anachronistic genre, yet Victorian authors worked to recreate it for the modern world. Simon Dentith explores the relationship between epic and the evolution of Britain's national identity in the nineteenth century up to the apparent demise of all notions of heroic warfare in the catastrophe of the First World War. Paradoxically, writers found equivalents of the societies which produced Homeric or Northern epics not in Europe, but on the margins of empire and among its subject peoples. Dentith considers the implications of the status of epic for a range of nineteenth-century writers, including Walter Scott, Matthew Arnold, Elizabeth Barrett Browning, William Morris and Rudyard Kipling. He also considers the relationship between epic poetry and the novel and discusses late nineteenth-century adventure novels, concluding with a brief survey of epic in the twentieth century.

An understanding of the work of Mikhail Bakhtin is essential for a comprehensive grasp of contemporary debates in literary theory, language and social history. "Bakhtinian Thought" offers a collection of writings by Bakhtin, Voloshinov and Medvedev to be accompanied by a full introduction to the work, by the editor Simon Dentith. This collection includes extracts from all the major areas of their work, and makes accessible to the student and teacher pieces of writing previously difficult to locate. Among the texts reproduced are: "Language, Speech and Utterance"; "Material and Device as Components of the Poetic Construction"; "Heteroglossia in the Novel"; "The Grotesque Image of the Body and its Sources". Specifically written with the student reader in mind, "Bakhtinian Thought" aims to serve as an introduction to one of the key thinkers of the 20th century.

Parody is part of all our lives. It occurs not only in literature, but also in everyday speech, in theatre and television, architecture and films. Drawing on examples from Aristophanes to The Simpsons, Simon Dentith explores:
* the place of parody in the history of literature
* parody as a subversive or conservative mode of writing
* parody's pivotal role in debates about postmodernism
* parody in the culture wars from ancient times to the present
This lively introduction situates parody at the heart of literary and cultural studies and offers a remarkably clear guide to this sometimes complex topic. Parody will serve as an essential resource, to be read and re-read by students of all levels.

'Frank has but one duty before him. He must marry money.' The squire of Greshamsbury has fallen on hard times, and it is incumbent on his son Frank to make a good marriage. But Frank loves the doctor's niece, Mary Thorne, a girl with no money and mysterious parentage. He faces a terrible dilemma: should he save the estate, or marry the girl he loves? Mary, too, has to battle her feelings, knowing that marrying Frank would ruin his family and fly in the face of his mother's opposition. Her pride is matched by that of her uncle, Dr Thorne, who has to decide whether to reveal a secret that would resolve Frank's difficulty, or to uphold the innate merits of his own family heritage. The character of Dr Thorne reflects Trollope's own contradictory feelings about the value of tradition and the need for change. His subtle portrayal, and the comic skill and gentle satire with which the story is developed, are among the many pleasures of this delightful novel. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Now adapted for ITV by Julian Fellowes, Doctor Thorne is the compelling story in which rank, wealth, and personal feeling are pitted against one another. The squire of Greshamsbury has fallen on hard times, and it is incumbent on his son Frank to make a good marriage. But Frank loves the doctor's niece, Mary Thorne, a girl with no money and mysterious parentage. He faces a terrible dilemma: should he save the estate, or marry the girl he loves? Mary, too, has to battle her feelings, knowing that marrying Frank would ruin his family and fly in the face of his mother's opposition. Her pride is matched by that of her uncle, Dr Thorne, who has to decide whether to reveal a secret that would resolve Frank's difficulty, or to uphold the innate merits of his own family heritage. The character of Dr Thorne reflects Trollope's own contradictory feelings about the value of tradition and the need for change. His subtle portrayal, and the comic skill and gentle satire with which the story is developed, are among the many pleasures of this delightful novel.

'To become a member of the British Parliament!...He almost thought that he could die happy' Phineas Finn, the handsome Irishman, is equally successful at scaling the political ladder and gaining the affection of influential women. As he makes his precarious way in parliament he discovers how far principles must be sacrificed to the common cause, and how essential money is to political progress. Set during the turbulent passage of the second Reform Act of 1867, the novel paints a vivid picture of the compromises and tactics of daily political life. Loss of independence is felt just as keenly by Lady Laura and Violet Effingham, whose choice of marriage partner will determine their future freedom as much as their happiness. With politics and the personal so closely entwined, Phineas faces an act of conscience that will have a profound effect on his life. The second novel in Trollope's Palliser series, Phineas Finn's engaging plot embraces matters as diverse as reform, the position of women, the Irish question, and the conflict between integrity and ambition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This well illustrated book celebrates every aspect of the wide-ranging achievements of William Morris - writer, designer, cultural critic, revolutionary socialist - with particular emphasis on their relevance to our own times. The book makes available up-to-date Morris scholarship in accessible form. Written by a group of international scholars who took part in a conference marking the centenary of the death of Morris in 1896, the book has sections devoted to Morris and Literature (covering texts from The Earthly Paradise to the late romances); Morris, the Arts & Crafts and the New World (including discussions of his influence in Rhode Island, Boston, Ontario and New Zealand); and Morris, Gender and Politics (with fresh consideration of his relation to Victorian ideas of manliness and of the particular qualities of his anti-statist politics). The latter section also draws attention to a hitherto unknown play by Morris's daughter May and concludes with an account of his biographer, the late E.P. Thompson.

In the nineteenth century, epic poetry in the Homeric style was widely seen as an ancient and anachronistic genre, yet Victorian authors worked to recreate it for the modern world. Simon Dentith explores the relationship between epic and the evolution of Britain's national identity in the nineteenth century up to the apparent demise of all notions of heroic warfare in the catastrophe of the First World War. Paradoxically, writers found equivalents of the societies which produced Homeric or Northern epics not in Europe, but on the margins of empire and among its subject peoples. Dentith considers the implications of the status of epic for a range of nineteenth-century writers, including Walter Scott, Matthew Arnold, Elizabeth Barrett Browning, William Morris and Rudyard Kipling. He also considers the relationship between epic poetry and the novel and discusses late nineteenth-century adventure novels, concluding with a brief survey of epic in the twentieth century.