This collection of essays examines the links between the images of death and sexuality in Victorian fiction and poetry. The contributors examine the ways in which fear of death was placed beside sexual desire and how Victorian writers managed to write about sex without overtly referring to it.;The essays include an examination of Count Dracula's eternal seductions, an exploration of the pairing of Eros and Thanatos in George Eliot's fiction and an exploration of the work of Ruskin. Some of the essays attempt to "undo" much of the preceding critical wisdom on the subject. The dialectics of sex and death, these critics claim, must be viewed as one of the most influential patterns in Victorian poetry and prose.;Regina Barreca has written "Punch Lines: Women, Comedy and Subversion in English and American Literature" and is editor of "Last Laughs: Perspectives on Women and Comedy".

First published in 1988, the 19 original essays (and three "Sylvia" cartoons) included in this volume deal with the gender-specific nature of comedy. This pioneering collection observes the creation of women's comedy from a wide range of standpoints: political, sociological, psychoanalytical, linguistic, and historical. The writers explore the role of women's comedy in familiar and unfamiliar territory, from Austen to Weldon, from Behn to Wasserstein. The questions they raise will lead to a redefinition of the genre itself.

First published in 1992, the twenty-one original essays in this volume explore the way women have used humor to break down cultural stereotypes between the genders. Examples from literature and the performing arts deal with humor and violence, humor and disability, humor and the supposition of women's shame, lesbian and ethnic humor, and particularly women's responses to men's humor. The essayists present traditional issues from new perspectives and take us from Italy in the Renaissance to today's New York comedy clubs. They may make you laugh; they may make you nervous. They will certainly make you reevaluate the importance of placing women at the center of a discussion of comedy.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

Adapted from a special issue of Literature Interpretation Theory, Helene Cixous: Critical Impressions explores one of the most significant voices in contemporary literature. Bringing together prominent critics from around the globe to explore the range and impact of Helene Cixous' work, this collection of essays approaches Cixous from the perspectives of feminist theory, materialist criticism, biographical criticism, and reader- response methodologies.

Louisa May Alcott shares the innocence of girlhood in this classic coming of age story about four sisters-Meg, Jo, Beth, and Amy. In picturesque nineteenth-century New England, tomboyish Jo, beautiful Meg, fragile Beth, and romantic Amy are responsible for keeping a home while their father is off to war. At the same time, they must come to terms with their individual personalities-and make the transition from girlhood to womanhood. It can all be quite a challenge. But the March sisters, however different, are nurtured by their wise and beloved Marmee, bound by their love for each other and the feminine strength they share. Readers of all ages have fallen instantly in love with these Little Women. Their story transcends time-making this novel endure as a classic piece of American literature that has captivated generations of readers with their charm, innocence, and wistful insights. This Signet Classics edition contains Little Women in its entirety, including Parts I and II. With an Introduction by Regina Barecca and an Afterword by Susan Straight

Includes an Introduction by Anne Perry and a New Afterword by Regina Barreca.
Indisputably the greatest fictional detective of all time, Sherlock Holmes lives on--in films, on television, and of course through Sir Arthur Conan Doyle's inimitable craft. These twenty-two stories show Holmes at his brilliant best.
THE ADVENTURE OF THE SPECKLED BAND
A SCANDAL IN BOHEMIA
THE RED-HEADED LEAGUE
THE ADVENTURE OF THE BLUE CARBUNCLE
THE NAVAL TREATY
THE FINAL PROBLEM
THE ADVENTURE OF THE DANCING MEN
THE ADVENTURE OF THE COPPER BEECHES
THE CROOKED MAN
THE RESIDENT PATIENT
THE GREEK INTERPRETER
THE ADVENTURE OF THE NORWOOD BUILDER
THE ADVENTURE OF THE SOLITARY CYCLIST
THE ADVENTURE OF THE EMPTY HOUSE
THE FIVE ORANGE PIPS
THE BOSCOMBE VALLEY MYSTERY
THE ADVENTURE OF THE SIX NAPOLEONS
THE ADVENTURE OF THE PRIORY SCHOOL
THE MUSGRAVE RITUAL
THE MAN WITH THE TWISTED LIP
THE ADVENTURE OF THE SECOND STAIN
THE ADVENTURE OF THE ABBEY GRANGE

A cyclone hits Kansas and whirls away Dorothy and her little dog Toto to the magical Land of Oz, where wild beasts talk, silver shoes have magic powers, and good witches offer protection with a kiss. But Dorothy has made an enemy of the Wicked Witch of the West. With her new friends the Scarecrow, the Tin Woodman, and the Cowardly Lion, they brave many dangers in search of the Wonderful Wizard in his Emerald City at the heart of Oz to ask him to grant each of them what they most desire - only to find that they already possess it. Published at the dawn of the twentieth century, The Wonderful Wizard of Oz immediately captivated child and adult readers alike. This new edition includes many of W. W. Denslow's original illustrations, and the introduction considers both the famous MGM film version and recent literary theory in a fascinating discussion of this children's classic.

As this complete collection of her short stories demonstrates, Dorothy Parker’s talents extended far beyond brash one-liners and clever rhymes. Her stories not only bring to life the urban milieu that was her bailiwick but lay bare the uncertainties and disappointments of ordinary people living ordinary lives.

Gabriel Oaks observes Bathsheba Everdene, the young mistress of Weatherbury Farm, fall victim to bad decisions and romantic impulses, unaware of the stroke of fate that will finally bring about their union. Revised reissue.

This new combined edition collects two brilliant satires of the Jazz Age and American sexual mores, featuring Lorelei Lee — the not-so-dumb blonde flapper from Little Rock. Lorelei’s hilarious diaries record her adventures in search of champagne, diamonds, and marriageable millionaires.

This important collection reveals as never before the quality, extent, and variety of the Italian American contribution to American literature. Bringing together fiction and poetry as well as academic essays and newspaper articles from the 1800s to the present, this volume covers a wide field of cultural experience. Including many previously unpublished pieces as well as classic works, and enhanced by an insightful and entertaining introduction by Regina Barreca, Don't Tell Mama highlights both the unity and the diversity of the Italian American experience.

In a book as provocative and insightful as Deborah Tannen's You Just Don't Understand, Barreca explores the new politics of marriage. "Feminist humor maven Regina Barreca takes on marriage with her characteristic wit and wisdom, demystifying the institution's roles and expectations clearly and usefully".--Ms.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

Newland Archer and May Welland have just announced their engagement to New York society, and the match seems perfect -- until Archer meets Countess Olenska, a sharp, beautiful woman in the midst of a divorce . . . it's for good reason this book won Edith Wharton Pulitzer Prize.

"Is it -- in this world -- vulgar to ask for more? To entreat a little wildness, a dark place or two in the soul?"
-- Katherine Mansfield

"There is no woman in American literature as fascinating as the doomed Madame Olenska. . . . Traditionally, Henry James has always been placed slightly higher up the slope of Parnassus than Edith Wharton. But now that the prejudice against the female writer is on the wane, they look to be exactly what they are: giants, equals, the tutelary and benign gods of our American literature."
-- Gore Vidal

"Will writers ever recover that peculiar blend of security and alertness which characterizes Mrs. Wharton and her tradition?"
-- E.M. Forster