This collection of essays explores the hotel as a site of modernity, a space of mobility and transience that shaped the transnational and transcultural modernist activity of the first half of the twentieth century. As a trope for social and cultural mobility, transitory and precarious modes of living, and experiences of personal and political transformation, the hotel space in modernist writing complicates binaries such as public and private, risk and rootedness, and convention and experimentation. It is also a prime location for modernist production and the cross-fertilization of heterogeneous, inter- and trans- literary, cultural, national, and affective modes. The study of the hotel in the work of authors such as E. M. Forster, Katherine Mansfield, Kay Boyle, and Joseph Roth reveals the ways in which the hotel nuances the notions of mobilities, networks, and communities in terms of gender, nation, and class. Whereas Mary Butts, Djuna Barnes, Anais Nin, and Denton Welch negotiate affective and bodily states which arise from the alienation experienced at liminal hotel spaces and which lead to new poetics of space, Vicki Baum, Georg Lukacs, James Joyce, and Elizabeth Bishop explore the socio-political and cultural conflicts which are manifested in and by the hotel. This volume invites us to think of "hotel modernisms" as situated in or enabled by this dynamic space. Including chapters which traverse the boundaries of nation and class, it regards the hotel as the transcultural space of modernity par excellence.

This book examines the letters, diaries, and published accounts of English and Scottish travelers to Greece in the seventeenth century, a time of growing interest in ancient texts and the Ottoman Empire. Through these early encounters, this book analyzes the travelers' construction of Greece in the early modern Mediterranean world and shows how travel became a means of collecting and disseminating knowledge about ancient sites. Focusing on the mobility and exchange of people, artifacts, texts, and opinions between the two countries, it argues that the presence of Britons in Greece and of Greeks in England aroused interest not only in Hellenic antiquity, but also in Greece's contemporary geopolitical role. Exploring myth, perception, and trope with clarity and precision, this book offers new insight into the connections between Greece, the Ottoman Empire, and the West.

This book focuses on literal and metaphorical ruins, as they are appropriated and imagined in different forms of writing. Examining British and American literature and culture in the nineteenth and twentieth centuries, the book begins in the era of industrial modernity with studies of Charles Dickens, Thomas Hardy, Henry James and Daphne Du Maurier. It then moves on to the significance of ruins in the twentieth century, against the backdrop of conflict, waste and destruction, analyzing authors such as Beckett and Pinter, Kurt Vonnegut, Robert Lowell, Anne Sexton and Leonard Cohen. The collection concludes with current debates on ruins, through discussions of Walter Benjamin and Bertolt Brecht, as well as reflections on the refugee crisis that take the ruin beyond the text, offering new perspectives on its diverse legacies and conceptual resources.

This book examines the letters, diaries, and published accounts of English and Scottish travelers to Greece in the seventeenth century, a time of growing interest in ancient texts and the Ottoman Empire. Through these early encounters, this book analyzes the travelers' construction of Greece in the early modern Mediterranean world and shows how travel became a means of collecting and disseminating knowledge about ancient sites. Focusing on the mobility and exchange of people, artifacts, texts, and opinions between the two countries, it argues that the presence of Britons in Greece and of Greeks in England aroused interest not only in Hellenic antiquity, but also in Greece's contemporary geopolitical role. Exploring myth, perception, and trope with clarity and precision, this book offers new insight into the connections between Greece, the Ottoman Empire, and the West.

This book focuses on literal and metaphorical ruins, as they are appropriated and imagined in different forms of writing. Examining British and American literature and culture in the nineteenth and twentieth centuries, the book begins in the era of industrial modernity with studies of Charles Dickens, Thomas Hardy, Henry James and Daphne Du Maurier. It then moves on to the significance of ruins in the twentieth century, against the backdrop of conflict, waste and destruction, analyzing authors such as Beckett and Pinter, Kurt Vonnegut, Robert Lowell, Anne Sexton and Leonard Cohen. The collection concludes with current debates on ruins, through discussions of Walter Benjamin and Bertolt Brecht, as well as reflections on the refugee crisis that take the ruin beyond the text, offering new perspectives on its diverse legacies and conceptual resources.

Troilus and Cressida: A Critical Reader offers an accessible and thought-provoking guide to this complex problem play, surveying its key themes and evolving critical preoccupations. Considering its generic ambiguity and experimentalism, it also provides a uniquely detailed and up-to-date history of the play's stage performance from Dryden's rewriting up to Mark Ravenhill and Elizabeth LeCompte's controversial 2012 production for the Royal Shakespeare Company and the Wooster Group. Moving through to four new critical essays, the guide opens up fresh perspectives on the play's iconoclastic nature and its key themes, ranging from issues of gender and sexuality to Elizabethan politics, from the uses of antiquity to questions of cultural translation, with particular attention paid on Troilus' "Greekness". The volume finishes with a helpful guide to critical and web-based resources. Discussing the ways in which this challenging and acerbic play can be brought to life in the classroom, it suggests performance-based strategies, designed to engage with the dramaturgical and theatrical dimensions of the text; close-reading exercises with an emphasis on rhetoric, metaphor and the practice of "troping"; and a series of tools designed to situate the play in a range of contexts, including its classical and critical frameworks.

This book combines legal as well as political and theoretical questions in a variety of contexts, ranging from legal issues in the early modern period to critical explorations of law/s, justice and textuality in contemporary literature and culture. The essays in this volume offer critical perspectives on the role of literature and theory in relation to the law and explore otherness and justice in early modern, Victorian and contemporary texts, postmodern theory, colonial and postcolonial contexts and popular culture. Examining how legal and literary narratives construct, repress, legitimise, but also enable the Other, this volume offers new insights into forms of alterity, marginality and exclusion and articulates the imperative need to reconfigure issues of justice as always intertwined with the Other.

Troilus and Cressida: A Critical Reader offers an accessible and thought-provoking guide to this complex problem play, surveying its key themes and evolving critical preoccupations. Considering its generic ambiguity and experimentalism, it also provides a uniquely detailed and up-to-date history of the play's stage performance from Dryden's rewriting up to Mark Ravenhill and Elizabeth LeCompte's controversial 2012 production for the Royal Shakespeare Company and the Wooster Group. Moving through to four new critical essays, the guide opens up fresh perspectives on the play's iconoclastic nature and its key themes, ranging from issues of gender and sexuality to Elizabethan politics, from the uses of antiquity to questions of cultural translation, with particular attention paid on Troilus' "Greekness". The volume finishes with a helpful guide to critical and web-based resources. Discussing the ways in which this challenging and acerbic play can be brought to life in the classroom, it suggests performance-based strategies, designed to engage with the dramaturgical and theatrical dimensions of the text; close-reading exercises with an emphasis on rhetoric, metaphor and the practice of "troping"; and a series of tools designed to situate the play in a range of contexts, including its classical and critical frameworks.