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In her compelling reexamination of Djuna Barnes's work, Daniela
Caselli raises timely questions about Barnes, biography and
feminist criticism, identity and authority, and modernist canon
formation. Through close readings of Barnes's manuscripts,
correspondence, critically acclaimed and little-known texts,
Caselli tackles one of the central unacknowledged issues in Barnes:
intertextuality. She shows how throughout Barnes's corpus the
repetition of texts, by other authors (from Blake to Middleton) and
by Barnes herself, forces us to rethink the relationship between
authority and gender and the reasons for her marginal place within
modernism. All her texts, linked as they are by correspondences and
permutations, wage a war against the common sense of the straight
mind. Caselli begins by analyzing how literary criticism has shaped
our perceptions of Barnes, showing how the various personae
assigned to Barnes are challenged when the right questions are
posed: Why is Barnes such a famous author when many of her texts
remain unread, even by critics? Why has criticism reduced Barnes's
work to biographical speculations? How can Barnes's hybrid,
eccentric, and unconventional corpus be read as part of literary
modernism when it often seems to sever itself from it? How can an
oeuvre reject the labels of feminist and lesbian literature, whilst
nevertheless holding at its centre the relationships between
language, sexuality, and the real? How can Barnes's work help us to
rethink the relation between simplicity and difficulty within
literary modernism? Caselli concludes by arguing that Barnes's
complex and bewildering work is committed to a high modernist
notion of art as a supremely difficult undertaking whilst refusing
to conform to standards of modernist acceptability.
In her compelling reexamination of Djuna Barnes's work, Daniela
Caselli raises timely questions about Barnes, biography and
feminist criticism, identity and authority, and modernist canon
formation. Through close readings of Barnes's manuscripts,
correspondence, critically acclaimed and little-known texts,
Caselli tackles one of the central unacknowledged issues in Barnes:
intertextuality. She shows how throughout Barnes's corpus the
repetition of texts, by other authors (from Blake to Middleton) and
by Barnes herself, forces us to rethink the relationship between
authority and gender and the reasons for her marginal place within
modernism. All her texts, linked as they are by correspondences and
permutations, wage a war against the common sense of the straight
mind. Caselli begins by analyzing how literary criticism has shaped
our perceptions of Barnes, showing how the various personae
assigned to Barnes are challenged when the right questions are
posed: Why is Barnes such a famous author when many of her texts
remain unread, even by critics? Why has criticism reduced Barnes's
work to biographical speculations? How can Barnes's hybrid,
eccentric, and unconventional corpus be read as part of literary
modernism when it often seems to sever itself from it? How can an
oeuvre reject the labels of feminist and lesbian literature, whilst
nevertheless holding at its centre the relationships between
language, sexuality, and the real? How can Barnes's work help us to
rethink the relation between simplicity and difficulty within
literary modernism? Caselli concludes by arguing that Barnes's
complex and bewildering work is committed to a high modernist
notion of art as a supremely difficult undertaking whilst refusing
to conform to standards of modernist acceptability.
Insufferable: Beckett, Gender and Sexuality rethinks the role of
gender politics in the oeuvre, demonstrates Beckett's historical
importance in the development of the 'antisocial thesis' in queer
theory, and shows the work's attachment to sexuality as temporarily
consolatory but ultimately unbearable. The Beckett oeuvre might
seem unpromising material for gender and sexuality studies, but
this is exactly what makes it worth considering. This Element
brings to Beckett questions that have emerged from gender, queer,
and trans theory, engages with the history of feminism and
sexuality studies, and develops a theoretical framework able to
account for what we have previously overlooked, underplayed, and
misinterpreted in Beckett. In the spirit of being 'on the lookout
for an elsewhere', it makes a case for a queerly generative
de-idealisation of Beckett as an object of critical study.
Beckett's reception was characterised in its early stages by a
sustained attention to nothing as a philosophical concept. Theodor
Adorno, however, was quick to argue that Beckett's plays resisted -
unlike Sartre's - having their nothing transformed into something.
This Beckettian nothing, moreover, is often invested with the aura
of the genius, either for eulogical or dismissive purposes. This
volume invites its readership to understand the complex ways in
which the Beckett canon both suggests and resists turning nothing
into something by looking at specific, sometimes almost invisible
ways in which 'little nothings' pervade the Beckett canon. The
volume has two main functions: on the one hand, it looks at
'nothing' not only as a content but also a set of rhetorical
strategies to reconsider afresh classic Beckett problems such as
Irishness, silence, value, marginality, politics and the
relationships between modernism and postmodernism and absence and
presence. On the other, it focuses on 'nothing' in order to assess
how the Beckett oeuvre can help us rethink contemporary
preoccupations with materialism, neurology, sculpture, music and
television. Both advanced students and scholars of Beckett will
find the volume of interest. It comprises jargon-free chapters that
analyse Beckett's prose, drama, film, television, manuscripts and
marginalia. It will prove of interest to advanced students and
scholars in English, French, Comparative Literature, Drama, Visual
Studies, Philosophy, Music, Cinema and TV studies. -- .
Beckett and nothing invites its readership to understand the
complex ways in which the Beckett canon both suggests and resists
turning nothing into something by looking at specific, sometimes
almost invisible ways in which 'little nothings' pervade the
Beckett canon. The volume has two main functions: on the one hand,
it looks at 'nothing' not only as a content but also a set of
rhetorical strategies to reconsider afresh classic Beckett problems
such as Irishness, silence, value, marginality, politics and the
relationships between modernism and postmodernism and absence and
presence. On the other, it focuses on 'nothing' in order to assess
how the Beckett oeuvre can help us rethink contemporary
preoccupations with materialism, neurology, sculpture, music and
television. The volume is a scholarly intervention in the fields of
Beckett studies which offers its chapters as case studies to use in
the classroom. It will prove of interest to advanced students and
scholars in English, French, Comparative Literature, Drama, Visual
Studies, Philosophy, Music, Cinema and TV studies. -- .
Beckett's Dantes: Intertextuality in the Fiction and Criticism is
the first study in English on the literary relation between Beckett
and Dante. It is an innovative reading of Samuel Beckett and
Dante's works and a critical engagement with contemporary theories
of intertextuality. It is an informative intertextual reading of
Beckett's work, detecting previously unknown quotations, allusions
to, and parodies of Dante in Beckett's fiction and criticism. The
volume interprets Dante in the original Italian (as it appears in
Beckett), translating into English all Italian quotations. It
benefits from a multilingual approach based on Beckett's published
works in English and French, and on manuscripts (which use English,
French, German and Italian). Through a close reading of Beckett's
fiction and criticism, the book will argue that Dante is both
assumed as an external source of literary and cultural authority in
Beckett's work, and also participates in Beckett's texts' sceptical
undermining of authority. Moreover, the book demonstrates that the
many references to various 'Dantes' produce 'Mr Beckett' as the
figure of the author responsible for such a remarkably
interconnected oeuvre. The book is aimed at the scholarly
communities interested in literatures in English, literary and
critical theory, comparative literature and theory, French
literature and theory and Italian studies. Its jargon-free style
will also attract third-year or advanced undergraduate students,
and postgraduate students, as well as those readers interested in
the unusual relationship between one of the greatest writers of the
twentieth century and the medieval author who stands for the very
idea of the Western canon. -- .
Beckett's Dantes: Intertextuality in the fiction and criticism is
the first study in English on the literary relationship between
Beckett and Dante. It is an innovative reading of Samuel Beckett
and Dante's works and a critical engagement with contemporary
theories of intertextuality. The volume interprets Dante in the
original Italian (as it appears in Beckett), translating into
English all Italian quotations. It benefits from a multilingual
approach based on Beckett's published works in English and French,
and on manuscripts (which use English, French, German and Italian).
The book is aimed at the scholarly communities interested in
literatures in English, literary and critical theory, comparative
literature and theory, French literature and theory and Italian
studies. Its jargon-free style will also attract third-year or
advanced undergraduate students, and postgraduate students, as well
as those readers interested in the unusual relationship between one
of the greatest writers of the twentieth century and the medieval
author who stands for the very idea of the Western canon. -- .
"Twentieth Century Poetic Translation" analyses translations of
Italian and English poetry and their roles in shaping national
identities by merging historical, cultural and theoretical
perspectives.Focusing on specific case studies within the Italian,
English and North American literary communities, spanning from
'authoritative' translations of poets by poets to the role of
dialect poetry and anthologies of poetry, this book looks at the
role of translation in the development of poetic languages and in
the construction of poetic canons. It brings together leading
scholars in the history of the Italian language, literary
historians, professional translators and specialists in theory of
translation to explore the cultural dynamics between poetic
traditions in Italian and English in the twentieth century.
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