Essays illustrating the range and diversity of post-1970 British women writers. Despite the enduring popularity of contemporary women's writing, British women writers have received scant critical attention. They tend to be overshadowed by their American counterparts in the media and have come to be represented within the academy almost exclusively by Angela Carter and Jeanette Winterson. This collection celebrates the range and diversity of contemporary (post-1970) British women writers. It challenges misconceptions about the natureand scope of fiction by women writers working in Britain - commonly dismissed as parochial, insular, dreary and domestic - and seeks to expand conventional definitions of "British" by exploring how issues of nationality intersectwith gender, class, race and sexuality. Writers covered include Pat Barker, A.L. Kennedy, Maggie Gee, Rukhsana Ahmad, Joan Riley, Jennifer Johnston, Ellen Galford, Susan Hill, Fay Weldon, Emma Tennant, and Helen Fielding. Contributors: DAVID ELLIS, CLARE HANSON, MAROULA JOANNOU, PAULINA PALMER, EMMA PARKER, FELICITY ROSSLYN, CHRISTIANE SCHLOTE, JOHN SEARS, ELUNED SUMMERS-BREMNER, IMELDA WHELEHAN, GINA WISKER.

This title was first published in 2000. This book offers a wide-ranging account of tragic drama from the Greeks to Arthur Miller. It puts forward a bold and vigorously developed argument about the recurrent concerns of tragedy, and proposes to uncover the archetypal tragic plot that emerges at key points of historical transition. It traces this plot through fascinatingly diverse formations on Athens, Renaissance England and the modern world, and offers detailed analysis of over twenty plays. The needs of the first-time reader are not forgotten, while challenging new light is thrown on each period. There is substantial discussion of Aeschylus, Sophocles, Euripedes, Marlowe, Shakespeare, Ibsen, Strindberg, Chekhov, Lorca and Miller, along with briefer consideration of the Senecan tradition, Yeats, Synge, O'Neill and T.S. Eliot. Felicity Rosslyn asks why tragic plays get written when they do, and why they so often dramatise the struggle to break the ties of blood for the bonds of law.

This title was first published in 2000. This book offers a wide-ranging account of tragic drama from the Greeks to Arthur Miller. It puts forward a bold and vigorously developed argument about the recurrent concerns of tragedy, and proposes to uncover the archetypal tragic plot that emerges at key points of historical transition. It traces this plot through fascinatingly diverse formations on Athens, Renaissance England and the modern world, and offers detailed analysis of over twenty plays. The needs of the first-time reader are not forgotten, while challenging new light is thrown on each period. There is substantial discussion of Aeschylus, Sophocles, Euripedes, Marlowe, Shakespeare, Ibsen, Strindberg, Chekhov, Lorca and Miller, along with briefer consideration of the Senecan tradition, Yeats, Synge, O'Neill and T.S. Eliot. Felicity Rosslyn asks why tragic plays get written when they do, and why they so often dramatise the struggle to break the ties of blood for the bonds of law.

The problems of translating literature explored through both theoretical approaches and practical case studies. Interest in the issues of translation continues to grow, and is reflected in this collection of essays by specialists in both literature and translation studies, all of whom have experience of translating literary texts themselves. The essays include both diverse theoretical approaches and practical case studies, and a wide range of topics are covered, including the history of translation in Scotland, the problems of translating Chinese poetry into English, renaissance theories of translation, George Eliot's translations, and Eastern European perceptions of English Romantic literature. Professor SUSAN BASSNETT teaches at the Centre for British and Comparative Cultural Studies at the University of Warwick. Contributors: SUSAN BASSNETT, THEO HERMANS, FELICITY ROSSLYN, ANDRE LEFEVERE, PIOTR KUHIWCZAK, JOHN CORBETT, SUSANNE STARK

This is a lively and authoritative guide to the life Pope called 'a warfare upon earth'. Dr Rosslyn gives a sympathetic portrait of the poet who overcame the obscurity of his origins and the embarrassment of his deformity to become the uncrowned laureate of his age - and also make the largest literary fortune since Shakespeare's. She describes the mixture of passion and pragmatism that created poetry out of a legion of enemies (and a wide circle of distinguished friends), and pays tribute to the professionalism of a poet who thought no sacrifice too great for his art.

This volume presents a selection from Pope's celebrated translation of Homer's Iliad, edited and arranged so as to concentrate on the central core of the story and thus to be readable as a continuous narrative. Also included is a section of the best of Pope's notes to his own translation;these illuminate his principles as a translator and transmit his intelligent and penetrating assessments of the Iliad's poetic qualities. It will enable students of English literature to sample a neglected poem written by Pope at the height of his powers, once thought to contain some of his finest writing and deepest poetic thoughts about Man and Nature. Students of the Classics, on the other hand, will be able to study in detail the response of one of its most distinguished admirers to the greatest poem of ancient Greece. Felicity Rosslyn's introduction discusses the main themes of the poem and establishes Pope's unique qualifications as a translator of Homer.