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This book argues that the Seven Years' War (1756--63) produced an
intense historical consciousness within British cultural life
regarding the boundaries of belonging to community, family and
nation. Global warfare prompts a radical re-imagining of the state
and the subjectivities of those who inhabit it. Laurence Sterne's
distinctive writing provides a remarkable route through the
transformations of mid-eighteenth-century British culture. The
risks of war generate unexpected freedoms and crises in the making
of domestic imperial subjects, which will continue to reverberate
in anti-slavery struggles and colonial conflict from America to
India. The book concentrates on the period from the 1750s to the
1770s. It explores the work of Johnson, Goldsmith, Walpole, Burke,
Scott, Wheatley, Sancho, Smollett, Rousseau, Collier, Smith and
Wollstonecraft alongside Sterne's narratives. It incorporates
debates among moral philosophers and philanthropists, examines
political tracts, poetry and grammar exercises, and paintings by
Kauffman, Hayman, and Wright of Derby, tracking the investments in,
and resistances to, the cultural work of empire. Key Features *
Topical in its focus on the making of 'modern' subjectivity during
the first 'global war' * Path-breaking in advancing our
understanding of the cultural history of eighteenth-century Britain
* Timely in its combination of new historical research with a
critical engagement with debates in postcolonial and subaltern
studies * Original in its account of the literature of the Seven
Years' War and its outstanding analysis of the writing of Laurence
Sterne
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War and Literature (Hardcover)
Laura Ashe, Ian Patterson; Contributions by Andrew Zurcher, Carol Watts, Catherine A. M. Clarke, …
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R1,624
Discovery Miles 16 240
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Ships in 12 - 17 working days
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Considerations of writing about war, in war, because of war, and
against war, in a wide range of texts from the middle ages onwards.
War was the first subject of literature; at times, war has been its
only subject. In this volume, the contributors reflect on the
uneasy yet symbiotic relations of war and writing, from medieval to
modern literature. War writing emerges in multiple forms,
celebratory and critical, awed and disgusted; the rhetoric of
inexpressibility fights its own battle with the urgent necessity of
representation, record and recognition. This is shown to be true
even to the present day: whether mimetic or metaphorical,
literature that concerns itself overtly or covertly with the real
pressures of war continues to speak to issues of pressing
significance, and to provide some clues to the intricateentwinement
of war with contemporary life. Particular topics addressed include
writings of and about the Crusades and battles during the Hundred
Years War; Shakespeare's "Casus Belly"; Auden's "Journal of an
Airman"; and War and Peace. Ian Patterson is a poet, critic and
translator. He teaches English at Queens' College, Cambridge. Laura
Ashe is Associate Professor of English and a Tutorial Fellow of
Worcester College, Oxford. Contributors: Joanna Bellis, Catherine
A.M. Clarke, Mary A. Favret, Rachel Galvin, James Purdon, Mark
Rawlinson, Susanna A. Throop, Katie L. Walter, Carol Watts, Tom F.
Wright, Andrew Zurcher.
Essays on the links between film and fiction, and their mutual
influence. Fiction and film interrelate closely to each other, and
the specially commissioned essays in this volume all consider
different aspects of this relationship. Beginning with discussions
of Dickens and Victorian literature, the contributors, all leading
scholars in this field, demonstrate how visual devices like the
magic lantern caught the interest of writers and affected their
choice of subject and method. The impact of the cinema on the
British modernistsis then discussed, and the remaining essays
provide detailed case studies on such subjects as Hemingway,
Updike, and the depiction of women in contemporary fiction and
film.
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Kelptown (Paperback)
Carol Watts
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R459
R396
Discovery Miles 3 960
Save R63 (14%)
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Ships in 10 - 15 working days
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"This is poetry at the edge of the land, but also at the edge of
our horizon. Kelptown is Kemptown, so we are on the south coast of
England. But this is not a poetry in which borders are fixed. What
we are given instead is a language of continuities, lines of
contact and connection that conventional place-making keeps from
view. We are standing at the shore, knowing that the waters are
rising, but knowing also that our only hope is to situate ourselves
in a radically different way. Carol Watts gives us a poetry which
lives, and shows us how we can learn to live, alongside fellow
species, which allows us to register again what we walk among. It
is a poetry of loss and of an intense politics of loss: we are
given 'DeExtinction Poems' and 'Notes on a Burning World'. But is
also a poetry that knows it must 'make a home/ on friable shores,
built from inundate truths'. These beautiful lines are from the
book's title sequence, where Watts raises the Thoreau-like
question: 'How do I live, tenant among your long fronds'. More than
ever we need our poets to help shape our answers to such questions.
And Carol Watts' imaginary is a most crucial response. Written
across the past decade, through what can seem like the end times,
these are poems that open us to new relations with the world."
-David Herd
"As `blue comes on' in these elegies, a unique genre emerges, a
lyrical epic that speculates on a world imagined through the
physics of blue light, `cyanometrics', the blue waves of the
spectrum, shorter and faster moving when split from the norm of
white light. In this new, formative referential world of blue,
perception changes. As Carol Watts thinks blue, and makes strange
cognitive experience, the long-held European myth of the power of
vision as a knowledge-making faculty dissolves, along with the
confident centrality of the perceiving subject. There is no `I' in
this work, the first person is eliminated. In this new space/time
of her enigmatic lyrics a spare, cryptic language evolves. Just as
blue comes to us through the earth's atmosphere, scattered by
molecules, the words on the page are like particles, suspended by a
minimal syntax. So we discover new relations. With its charge of
blue, the four parts of the poem move from speculation to threnody
and even to prophecy as the earth's atmosphere that hosts light
gradually takes on ecological terror. This terror penetrates to
inner and to civic lives, to networks of finance and to myths of
gender. This is a major philosophical poem of our generation." -
Isobel Armstrong
Written over 12 months, from 23 September 2006 to 14 September
2007, Carol Watts' sequence of poems explores the freight of a year
with an ear to its future. Fragments and "cuts" of time and memory,
light, sound, weather, the voices of children. John Clare wandering
among rinds of a shoe-making village and city parakeets. Small
series, detonating. The working through of an occasional tense, its
cost, its serious music, its gift. This is Carol Watts' second
poetry collection for Reality Street, the first having been "Wrack"
(2007).
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