This is the first book-length study of Forster's posthumously-published novel. Nine essays focus exclusively on Maurice and its dynamic afterlives in literature, film and new media during the twentieth and twenty-first centuries. Begun in 1913 and revised over almost fifty years, Maurice became a defining text in Forster's work and a canonical example of queer fiction. Yet the critical tendency to read Maurice primarily as a 'revelation' of Forster's homosexuality has obscured important biographical, political and aesthetic contexts for this novel. This collection places Maurice among early twentieth-century debates about politics, philosophy, religion, gender, Aestheticism and allegory. Essays explore how the novel interacts with literary predecessors and contemporaries including John Bunyan, Oscar Wilde, Havelock Ellis and Edward Carpenter, and how it was shaped by personal relationships such as Forster's friendship with Florence Barger. They close-read the textual variants of Forster's manuscripts and examine the novel's genesis and revisions. They consider the volatility of its reception, analysing how it galvanizes subsequent generations of writers and artists including Christopher Isherwood, Alan Hollinghurst, Damon Galgut, James Ivory and twenty-first-century online fanfiction writers. What emerges from the volume is the complexity of the novel, as a text and as a cultural phenomenon.

A new wave of scholarship inspired by the ways the writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Words and Notes encourages a new wave of scholarship inspired by the ways writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Contributors to the volume engage in two dialogues: with nineteenth-century conceptions of word-music relations, and with each other. Criss-crossing disciplinary boundaries, the authors of the book's eleven essays address new questions relating to listening, imagining and performing music, the act of critique, and music's links with philosophy and aesthetics. The many points of intersection are elucidated in an editorial introduction and via a reflective afterword. Fiction and poetry, musicography, philosophy, music theory, science and music analysis all feature, as do traditions within English, French and German studies. Wide-ranging material foregrounds musical memory, soundscape and evocation; performer dilemmas over the words in Satie's piano music; the musicality of fictional and non-fictional prose; text-setting and the rights of poet vs. composer; the rich novelistic and critical testimony of audience inattention at the opera;German philosophy's potential contribution to musical listening; and Hoffmann's send-ups of the serious music-lover. Throughout, music - its composition, performance and consumption - emerges as a profoundly physical and social force, even when it is presented as the opposite. PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. KATHARINE ELLIS is Stanley Hugh Badock Professor of Music at the University of Bristol. Contributors: Helen Abbott, Noelle Chao, Delia da Sousa Correa, Peter Dayan, Katharine Ellis, David Evans, Annegret Fauser, Jon-Tomas Godin, Cormac Newark, Matthew Riley, Emma Sutton, Shafquat Towheed, Susan Youens, Phyllis Weliver

These essays explore music and its relationship to language, aesthetics, and culture in the life and work of the preeminent Modernist writer Virginia Woolf (Mrs. Dalloway, To the Lighthouse, Orlando, A Room of One's Own, and other works). Approaching Woolf from musicology, literary criticism, and gender studies, the collection examines Woolf's musical background; music in Woolf's fiction and critical writings; and the importance of music in the Bloomsbury milieu and its role within the larger framework of Modernism. Making use of Woolf's diaries, letters, fiction, and the testimony of her contemporaries, these essays illuminate the rich and deeply musical nature of Woolf's works.

These essays explore music and its relationship to language, aesthetics, and culture in the life and work of the preeminent Modernist writer Virginia Woolf (Mrs. Dalloway, To the Lighthouse, Orlando, A Room of One's Own, and other works). Approaching Woolf from musicology, literary criticism, and gender studies, the collection examines Woolf's musical background; music in Woolf's fiction and critical writings; and the importance of music in the Bloomsbury milieu and its role within the larger framework of Modernism. Making use of Woolf's diaries, letters, fiction, and the testimony of her contemporaries, these essays illuminate the rich and deeply musical nature of Woolf's works.

This is the first book-length study of Forster's posthumously-published novel. Nine essays focus exclusively on Maurice and its dynamic afterlives in literature, film and new media during the twentieth and twenty-first centuries. Begun in 1913 and revised over almost fifty years, Maurice became a defining text in Forster's work and a canonical example of queer fiction. Yet the critical tendency to read Maurice primarily as a 'revelation' of Forster's homosexuality has obscured important biographical, political and aesthetic contexts for this novel. This collection places Maurice among early twentieth-century debates about politics, philosophy, religion, gender, Aestheticism and allegory. Essays explore how the novel interacts with literary predecessors and contemporaries including John Bunyan, Oscar Wilde, Havelock Ellis and Edward Carpenter, and how it was shaped by personal relationships such as Forster's friendship with Florence Barger. They close-read the textual variants of Forster's manuscripts and examine the novel's genesis and revisions. They consider the volatility of its reception, analysing how it galvanizes subsequent generations of writers and artists including Christopher Isherwood, Alan Hollinghurst, Damon Galgut, James Ivory and twenty-first-century online fanfiction writers. What emerges from the volume is the complexity of the novel, as a text and as a cultural phenomenon.

This study is a groundbreaking investigation into the formative influence of music on Virginia Woolf's writing. In this unique study Emma Sutton discusses all of Woolf's novels as well as selected essays and short fiction, offering detailed commentaries on Woolf's numerous allusions to classical repertoire and to composers including Bach, Mozart, Beethoven and Wagner. Sutton explores Woolf's interest in the contested relationship between politics and music, placing her work in a matrix of ideas about music and national identity, class, anti Semitism, pacifism, sexuality and gender. The study also considers the formal influence of music - from fugue to Romantic opera - on Woolf's prose and narrative techniques. The analysis of music's role in Woolf's aesthetics and fiction is contextualized in accounts of her musical education, activities as a listener, and friendships with musicians; and the study outlines the relationship between her 'musicalized' work and that of contemporaries including Joyce, Lawrence, Forster, Mansfield and Eliot. It analysis of music, national identity and war in The Voyage Out, Jacobs Room and Mrs Dalloway. It offers a close reading of Wagner's influence on the plot and narrative techniques of The Voyage Out. It analysis of music and philo and anti Semitism in The Years. It offers innovative reading of the 'fugal' structure of Mrs Dalloway.

Aubrey Beardsley and British Wagnerism in the 1890s is an interdisciplinary study of the influence of Richard Wagner on the work of Aubrey Beardsley (1872-1898). The study considers Beardsley's pictorial and literary versions - or perversions - of Wagner's operas. It explores the role of Wagnerism within British culture of the 1890s, in particular the relations between Wagnerism and the decadent movement.