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Discover Virginia Woolf's landmark essay on women's struggle for
independence and creative opportunity A Room of One's Own is one of
Virginia Woolf's most influential works and widely recognized for
its extraordinary contribution to the women's movement. Based on a
lecture given at Girton College, Cambridge, it is one of the great
feminist polemics, ranging in its themes from Jane Austen and
Charlotte Bronte to the silent fate of Shakespeare's gifted
(imaginary) sister, and the effects of poverty and sexual
constraint on female creativity. The work was ranked by The
Guardian newspaper as number 45 in the 100 World's Best Non-fiction
Books. Part of the bestselling Capstone series, this collectible,
hard-back edition of A Room of One's Own includes an insightful
introduction by Jessica Gildersleeve that explains the book's place
in modernist literature and why it still resonates with
contemporary readers. Born in 1882, Virginia Woolf was one of the
most forward-thinking English writers of her time. Author of the
classic novels Mrs Dalloway (1925) and To the Lighthouse (1927),
she was also a prolific writer of essays, diaries, letters and
biographies, and a member of the celebrated Bloomsbury Set of
intellectuals and artists. Discover why A Room of One's Own is
considered among the greatest and most influential works of female
empowerment and creativity Learn why Woolf's classic has stood the
test of time. Make this attractive, high-quality hardcover edition
a permanent addition to your library Enjoy an insightful
introduction by Jessica Gildersleeve, who connects the themes of
the text to the concerns of today's audience Capstone Classics
brings A Room of One's Own to a new generation of readers who can
discover how Woolf's book broke new artistic ground and advanced
the position of women writers and creatives around the world.
In recent years, Australian literature has experienced a revival of
interest both domestically and internationally. The increasing
prominence of work by writers like Christos Tsiolkas, heightened
through television and film adaptation, as well as the award of
major international prizes to writers like Richard Flanagan, and
the development of new, high-profile prizes like the Stella Prize,
have all reinvigorated interest in Australian literature both at
home and abroad. This Companion emerges as a part of that
reinvigoration, considering anew the history and development of
Australian literature and its key themes, as well as tracing the
transition of the field through those critical debates. It
considers works of Australian literature on their own terms, as
well as positioning them in their critical and historical context
and their ethical and interactive position in the public and
private spheres. With an emphasis on literature's responsibilities,
this book claims Australian literary studies as a field uniquely
positioned to expose the ways in which literature engages with,
produces and is produced by its context, provoking a critical
re-evaluation of the concept of the relationship between national
literatures, cultures, and histories, and the social function of
literary texts.
From experiments in language and identity to innovations in the
novel, the short story and life narratives, the contributors
discuss the ways in which Bowen's work straddles, informs and
defies the existing definitions of modernist and postmodernist
literature which dominate twentieth-century writing. The eleven
chapters present new scholarship on Bowen's inventiveness and
unique writing style and its attachment to objects, covering topics
such as queer adolescents, housekeeping, female fetishism, habit
and new technologies such as the telephone.
This edited collection aims to respond to dominant perspectives on
twenty-first-century war by exploring how the events of 9/11 and
the subsequent Wars on Terror are represented and remembered
outside of the US framework. Existing critical coverage ignores the
meaning of these events for people, nations and cultures apparently
peripheral to them but which have - as shown in this collection -
been extraordinarily affected by the social, political and cultural
changes these wars have wrought. Adopting a literary and cultural
history approach, the book asks how these events resonate and
continue to show effects in the rest of the world, with a
particular focus on Australia and Britain. It argues that such
reflections on the impact of the Wars on Terror help us to
understand what global conflict means in a contemporary context, as
well as what its representative motifs might tell us about how
nations like Australia and Britain perceive and construct their
remembered identities on the world stage in the twenty-first
century. In its close examination of films, novels, memoir, visual
artworks, media, and minority communities in the years since 2001,
this collection looks at the global impacts of these events, and
the ways they have shaped, and continue to shape, Britain and
Australia's relation to the rest of the world.
This edited collection aims to respond to dominant perspectives on
twenty-first-century war by exploring how the events of 9/11 and
the subsequent Wars on Terror are represented and remembered
outside of the US framework. Existing critical coverage ignores the
meaning of these events for people, nations and cultures apparently
peripheral to them but which have - as shown in this collection -
been extraordinarily affected by the social, political and cultural
changes these wars have wrought. Adopting a literary and cultural
history approach, the book asks how these events resonate and
continue to show effects in the rest of the world, with a
particular focus on Australia and Britain. It argues that such
reflections on the impact of the Wars on Terror help us to
understand what global conflict means in a contemporary context, as
well as what its representative motifs might tell us about how
nations like Australia and Britain perceive and construct their
remembered identities on the world stage in the twenty-first
century. In its close examination of films, novels, memoir, visual
artworks, media, and minority communities in the years since 2001,
this collection looks at the global impacts of these events, and
the ways they have shaped, and continue to shape, Britain and
Australia's relation to the rest of the world.
Explores Elizabeth Bowen's significant contribution to
twentieth-century literary theory Provides new avenues for research
in Bowen studies in ways that are concerned primarily with Bowen's
perception of writing and narrative Moves away from perceptions of
Bowen's writing tied to existing ideological categories, such as
viewing her work through a lens of psychoanalysis, modernism, or
Irish or British history and which emphasise Bowen's innovation not
as central to our understanding of the changes happening in
twentieth-century literature and history, but as instead a point of
'difficulty' Recognises Bowen's innovation, experimentation and her
impact on her contemporaries and literary descendants From
experiments in language and identity to innovations in the novel,
the short story and life narratives, the contributors discuss the
way in which Bowen's work straddles, informs and defies the
existing definitions of modernist and postmodernist literature
which dominate twentieth-century writing. The eleven chapters
present new scholarship on Bowen's inventiveness and unique writing
style and attachment to objects, covering topics such as queer
adolescents, housekeeping, female fetishism, habit and new
technologies such as the telephone.
Nicolas Roeg's Don't Look Now (1973) has been called "a ghost story
for adults." Certainly, in contrast to the more explicitly violent
and bloodthirsty horror films of the 1970s, Don't Look Now seems of
an entirely different order. Yet this supernaturally inflected tale
of a child's accidental drowning, and her parents' desperate
simultaneous recoil from her death and pursuit of her ghost, Don't
Look Now is horrific at every turn. This book argues for it as a
particular kind of horror film, one which depends utterly on the
narrative of trauma-on the horror of unknowing, of seeing too late,
and of the failures of paternal authority and responsibility. This
study works to position Don't Look Now within a discourse of
midcentury anxiety narratives primarily existing in literary texts.
In this context, it represents a cross over or a hinge between
literature and film of the 1970s, and the ways in which the women's
ghost story or uncanny story turns the horror film into a cultural
commentary on the failures of the modern family.
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