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A multiple award-winning author, Sarah Waters is one of the most
critically and commercially successful novelists writing today. In
such novels as Fingersmith, Tipping the Velvet, Affinity and The
Night Watch, her writing has played compellingly with popular and
generic forms and narrative techniques and covered a number of
important contemporary themes. This critical guide is the first
book to offer a wide range of current critical perspectives on
Waters' work. With chapters written by leading established and
emerging scholars the book explores issues such as gender,
sexuality, class, time and space in Waters' fiction, as well as her
appropriation of a range of genres from the historical and
neo-victorian novel to the gothic. The book also includes a new
interview with Waters herself, a timeline of her life, chapter
summaries and guides to further reading, making this an essential
guide to the work of one of the most exciting voices in
contemporary fiction.
Mitchell provides students with a comprehensive introduction to
Kennedy's work, placing her fiction and non-fiction in a clear
historical and theoretical context. Its importance is considered in
terms of contemporary Scottish identity and relevance to key issues
in contemporary culture and theory. Including a timeline of key
dates and an interview with the author, this guide offers an
accessible reading of Kennedy's short stories, novels, poetry,
non-fiction and screenplays and an overview of the reception this
has provoked.
Mitchell provides students with a comprehensive introduction to
Kennedy's work, placing her fiction and non-fiction in a clear
historical and theoretical context. Its importance is considered in
terms of contemporary Scottish identity and relevance to key issues
in contemporary culture and theory. Including a timeline of key
dates and an interview with the author, this guide offers an
accessible reading of Kennedy's short stories, novels, poetry,
non-fiction and screenplays and an overview of the reception this
has provoked.
Through readings of an array of recent texts literary and popular,
fictional and autofictional, realist and experimental this book
maps out a contemporary, Western, shame culture. It unpicks the
complex triangulation of shame, gender and writing, and intervenes
forcefully in feminist and queer debates of the last three decades.
Starting from the premise that shame cannot be overcome or
abandoned, and that femininity and shame are utterly and
necessarily imbricated, Writing Shame examines writing that
explores and inhabits this state of shame, considering the
dissonant effects of such explorations on and beyond the page.
Explores the trailblazing work of the British literary avant-garde
of the 1960s This collection showcases the liveliness of British
avant-garde fiction of the 1960s, which is diverse in its aesthetic
practices and (sometimes) divided in its politics. It brings
together a selection of original, research-led essays on more than
a dozen avant-garde British writers of the 1960s, revealing this to
be a crucial - and crucially overlooked - period of British
literary history. Via detailed readings of authors such as Ann
Quin, B.S. Johnson, Alexander Trocchi, Maureen Duffy, Alan Burns,
Christine Brooke-Rose and many others, the contributors reveal the
diversity of material produced in this period and trace the complex
relations of influence and indebtedness between the 60s
avant-garde, earlier modernisms and later postmodern writing. The
volume shows that the 1960s is an even more vibrant period of
literary experiment in Britain than might previously have been
supposed - and that the avant-garde fiction produced then rewards
our renewed attention to it. Key Features: Provides much-needed
critical analyses of the work of 60s avant-garde writers Offers
focused essays - each presents one author in their
cultural/critical/historical contexts - by experts in the field
Recuperates a lost decade in British literature and thus fills a
vital gap in literary history, between late modernism and early
postmodernism Responds to burgeoning critical and popular interest
in authors such as Christine Brooke-Rose, Ann Quin, and B.S.
Johnson, and to a widespread interest in experimental and
innovative writing more generally
Examines the intersection of shame, gender and writing in
contemporary literature Considers the particular intersection of
shame, gender and writing in literature produced since the 1990s
Views shame as a constitutive factor in the social construction and
experience of femininity Analyses a diverse range of texts from
pulp to literary fiction to life writing and autofiction, with a
self-reflexive focus on the formal disjunctions produced by/in the
writing of shame, and on the shame attending the act of writing
itself Offers political readings of neglected genres (lesbian pulp
fiction), highly topical texts (like Kraus's I Love Dick and
Knausgaard's My Struggle), and established authors (such as Mary
Gaitskill, A.M. Homes, Rupert Thomson) Through readings of an array
of recent texts - literary and popular, fictional and
autofictional, realist and experimental - this book maps out a
contemporary, Western, shame culture. It unpicks the complex
triangulation of shame, gender and writing, and intervenes
forcefully in feminist and queer debates of the last three decades.
Starting from the premise that shame cannot be overcome or
abandoned, and that femininity and shame are utterly and
necessarily imbricated, Writing Shame examines writing that
explores and inhabits this state of shame, considering the
dissonant effects of such explorations on and beyond the page.
Explores the trailblazing work of the British literary avant-garde
of the 1960s This collection showcases the liveliness of British
avant-garde fiction of the 1960s, which is diverse in its aesthetic
practices and (sometimes) divided in its politics. It brings
together a selection of original, research-led essays on more than
a dozen avant-garde British writers of the 1960s, revealing this to
be a crucial - and crucially overlooked - period of British
literary history. Via detailed readings of authors such as Ann
Quin, B.S. Johnson, Alexander Trocchi, Maureen Duffy, Alan Burns,
Christine Brooke-Rose and many others, the contributors reveal the
diversity of material produced in this period and trace the complex
relations of influence and indebtedness between the 60s
avant-garde, earlier modernisms and later postmodern writing. The
volume shows that the 1960s is an even more vibrant period of
literary experiment in Britain than might previously have been
supposed - and that the avant-garde fiction produced then rewards
our renewed attention to it. Key Features: Provides much-needed
critical analyses of the work of 60s avant-garde writers Offers
focused essays - each presents one author in their
cultural/critical/historical contexts - by experts in the field
Recuperates a lost decade in British literature and thus fills a
vital gap in literary history, between late modernism and early
postmodernism Responds to burgeoning critical and popular interest
in authors such as Christine Brooke-Rose, Ann Quin, and B.S.
Johnson, and to a widespread interest in experimental and
innovative writing more generally
A multiple award-winning author, Sarah Waters is one of the most
critically and commercially successful novelists writing today. In
such novels as Fingersmith, Tipping the Velvet, Affinity and The
Night Watch, her writing has played compellingly with popular and
generic forms and narrative techniques and covered a number of
important contemporary themes. This critical guide is the first
book to offer a wide range of current critical perspectives on
Waters' work. With chapters written by leading established and
emerging scholars the book explores issues such as gender,
sexuality, class, time and space in Waters' fiction, as well as her
appropriation of a range of genres from the historical and
neo-victorian novel to the gothic. The book also includes a new
interview with Waters herself, a timeline of her life, chapter
summaries and guides to further reading, making this an essential
guide to the work of one of the most exciting voices in
contemporary fiction.
The question of intention is central to the study of literature.
How far can an author's intentions determine the meanings of
his/her text? What do we mean by 'intention' in a literary context?
What force does the reader's intention have in the construction of
textual meaning? To what extent can a text itself be said to be
'intentional'? The aim of this book is to provide an in-depth
analysis and critique of this concept of intention, its uses within
the realms of literary theory, aesthetics, philosophy of language,
phenomenology and deconstruction, and its potential for
redefinition. Mitchell sets out to re-think intention and
interrogate the possibilities of an intentionalism more suited to a
formalist or textualist critical methodology. She moves from an
assessment of the pitfalls of a traditional authorial
intentionalism, towards the formulation of an 'intentionality of
form', where intention is seen as a formal attribute of the text
itself
The question of intention is central to the study of literature.
How far can an author's intentions determine the meanings of
his/her text? What do we mean by 'intention' in a literary context?
What force does the reader's intention have in the construction of
textual meaning? To what extent can a text itself be said to be
'intentional'? The aim of this book is to provide an in-depth
analysis and critique of this concept of intention, its uses within
the realms of literary theory, aesthetics, philosophy of language,
phenomenology and deconstruction, and its potential for
redefinition. Mitchell sets out to re-think intention and
interrogate the possibilities of an intentionalism more suited to a
formalist or textualist critical methodology. She moves from an
assessment of the pitfalls of a traditional authorial
intentionalism, towards the formulation of an 'intentionality of
form', where intention is seen as a formal attribute of the text
itself
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