The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead promises an experiential type of knowledge, one that is attained by participating in the power games and moral dramas that unfold within the text. This collection argues that reading James ultimately requires not just an emotional responsiveness, but also an ethical assumption of responsibility for the act of reading. By placing James's work in a fresh theoretical context, this book throws fresh light on this most enigmatic of writers.

This collection analyses the future of 'trauma theory', a major theoretical discourse in contemporary criticism and theory. The chapters advance the current state of the field by exploring new areas, asking new questions and making new connections. Part one, History and Culture, begins by developing trauma theory in its more familiar post-deconstructive mode and explores how these insights might still be productive. It goes on, via a critique of existing positions, to relocate trauma theory in a postcolonial and globalized world, theoretically, aesthetically and materially, and focuses on non-Western accounts and understandings of trauma, memory and suffering. Part two, Politics and Subjectivity, turns explicitly to politics and subjectivity, focussing on the state and the various forms of subjection to which it gives rise, and on human rights, biopolitics and community. Each chapter, in different ways, advocates a movement beyond the sort of texts and concepts that are the usual focus for trauma criticism and moves this dynamic network of ideas forward. With contributions from an international selection of leading critics and thinkers from the US and Europe, this volume will be a key critical intervention in one of the most important areas in contemporary literary criticism and theory.

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead promises an experiential type of knowledge, one that is attained by participating in the power games and moral dramas that unfold within the text. This collection argues that reading James ultimately requires not just an emotional responsiveness, but also an ethical assumption of responsibility for the act of reading. By placing James's work in a fresh theoretical context, this book throws fresh light on this most enigmatic of writers.

America es una sola aunque pocos lo crean, un dia por encima del Pentagono y las bananas y el petr6leo los hombres comprenderan la imbecilidad incurable de los nacionalismos. Julio Cortazar Ultimo Round The essays collected in this volurne arose out of a workshop at the 1992 Conference of the European Association for American Studies in Seville. The overall theme of that conference was "The American Colurnbiad: 'Discovering' America, Inventing the United States. " Feel- ing somewhat ill at ease with the clarification of this theme in the EAAS Newsletter of October 1990, which explained that the "central concern" of the conference would be to study the "making of a country which is more than just a country, but also and quintessentially a dream, a fic- tion, a continuous creation ...", we decided to organize a workshop that would focus on literary texts which implicitly or explicitly stand in opposition to the concept that the making of the North American nation is "quintessentially a dream. " While for many representing a dream, the making of the American nation deferred and destroyed at the same time the dreams of many others. The texts that interested us would therefore be such as foreground the hegemonic and power-related aspects that that making entailed and entails. The title that we chose for our workshopwas "Deferring a Dream: Literary Sub-Versions of the American Colurnbiad. " The hyphen in sub- version is not entirely accidental.

This collection analyses the future of trauma theory, a major theoretical discourse in contemporary criticism and theory. The chapters advance the current state of the field by exploring new areas, asking new questions and making new connections.

Part one, "History and Culture," begins by developing trauma theory in its more familiar post-deconstructive mode and explores how these insights might still be productive. It goes on, via a critique of existing positions, to relocate trauma theory in a postcolonial and globalized world, theoretically, aesthetically and materially, and focuses on non-Western accounts and understandings of trauma, memory and suffering. Part two, "Politics and Subjectivity," turns explicitly to politics and subjectivity, focussing on the state and the various forms of subjection to which it gives rise, and on human rights, biopolitics and community.

Each chapter, in different ways, advocates a movement beyond the sort of texts and concepts that are the usual focus for trauma criticism and moves this dynamic network of ideas forward.

With contributions from an international selection of leading critics and thinkers from the US and Europe, this volume will be a key critical intervention in one of the most important areas in contemporary literary criticism and theory.

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. Published in two volumes in 1880, Washington Square dramatises the plight of Catherine Sloper, a rich heiress, whose father, a successful doctor, identifies her one suitor, Morris Townsend, as a fortune-hunter. The novel thus draws on the sentimental tradition, which it develops with subtle, sympathetic irony, in a realist direction. This edition is the first to provide a full account of the context in which the book was composed and received, and to include the original illustrations by Punch-cartoonist George Du Maurier. Extensive explanatory notes enable modern readers to understand its nuanced historical, cultural and literary references, and its complex textual history.