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This volume explores the politics and poetics of Victorian surfaces
in their manifold manifestations. In so doing, it examines various
cultural products 'as they are' and highlights the art of surface
composition in the Victorian era as well as the socio-cultural
ramifications of the preoccupation with the exterior. By closely
reading the various surfaces materialising in Victorian literature
and culture, the individual contributions explore the dialectics of
surface and depth in Victorian (and Neo-Victorian) cultures as well
as the legibility of surfaces. They look into the surfaces of
literary narratives, paintings, and film but also into natural
surfaces such as skin or bark. Each chapter foregrounds what is
present rather than absent in a text, while also paying attention
to the surfaces that become manifest on the diegetic level of the
text, be they cloth, landscapes, or human bodies or faces. This is
an open access book.
This volume explores 'unknown time' as a cultural phenomenon,
approaching past futures, unknown presents, and future pasts
through a broad range of different disciplines, media, and
contexts. As a phenomenon that is both elusive and fundamentally
inaccessible, time is a key object of fascination. Throughout the
ages, different cultures have been deeply engaged in various
attempts to fill or make time by developing strategies to
familiarize unknown time and to materialize and control past,
present, or future time. Arguing for the perennial interest in
time, especially in the unknown and unattainable dimension of the
future, the contributions explore premodern ideas about eschatology
and secular future, historical configurations of the perception of
time and acceleration in fin-de-siecle Germany and contemporary
Lagos, the formation of 'deep time' and 'timelessness' in
paleontology and ethnographic museums, and the representation of
time-past, present, and future alike-in music, film, and science
fiction.
This volume is the first to investigate temporalities, their
manifestations, passages, and negotiations in and of (lived and
imagined) crises-situations. Focusing on the affordances of form,
the volume explores the role of literature in responding to
temporalities in and of crises. Gathering essays by both renowned
and upcoming literary scholars and offering a wide range of
different methodological approaches, which connect to recent
advancements in ecocriticism, postcolonialism, and queer studies,
it will inform and inspire future studies in the field, both within
but also beyond Anglophone literary studies. Considering that the
current pandemic and ecological crises have profoundly changed (and
continue to change) concepts of time, this volume will remain
highly relevant and topical beyond the backdrop of COVID-19.
Exploring literary fascination as a key concept of aesthetic
attraction, this book illuminates the ways in which literary texts
are designed, presented, and received. Detailed case studies
include texts by William Shakespeare, S.T. Coleridge, Mary Shelley,
Bram Stoker, Oscar Wilde, Joseph Conrad, Don DeLillo, and Ian
McEwan.
This book discusses the complex ways in which the novel offers a
vibrant arena for critically engaging with our contemporary world
and scrutinises the genre's political, ethical, and aesthetic
value. Far-reaching cultural, political, and technological changes
during the past two decades have created new contexts for the
novel, which have yet to be accounted for in literary studies.
Addressing the need for fresh transdisciplinary approaches that
explore these developments, the book focuses on the multifaceted
responses of the novel to key global challenges, including
migration and cosmopolitanism, posthumanism and ecosickness, human
and animal rights, affect and biopolitics, human cognition and
anxieties of inattention, and the transculturality of terror. By
doing so, it testifies to the ongoing cultural relevance of the
genre. Lastly, it examines a range of 21st-century Anglophone
novels to encourage new critical discourses in literary studies.
This volume explores the politics and poetics of Victorian surfaces
in their manifold manifestations. In so doing, it examines various
cultural products 'as they are' and highlights the art of surface
composition in the Victorian era as well as the socio-cultural
ramifications of the preoccupation with the exterior. By closely
reading the various surfaces materialising in Victorian literature
and culture, the individual contributions explore the dialectics of
surface and depth in Victorian (and Neo-Victorian) cultures as well
as the legibility of surfaces. They look into the surfaces of
literary narratives, paintings, and film but also into natural
surfaces such as skin or bark. Each chapter foregrounds what is
present rather than absent in a text, while also paying attention
to the surfaces that become manifest on the diegetic level of the
text, be they cloth, landscapes, or human bodies or faces. This is
an open access book.
This book discusses the complex ways in which the novel offers a
vibrant arena for critically engaging with our contemporary world
and scrutinises the genre's political, ethical, and aesthetic
value. Far-reaching cultural, political, and technological changes
during the past two decades have created new contexts for the
novel, which have yet to be accounted for in literary studies.
Addressing the need for fresh transdisciplinary approaches that
explore these developments, the book focuses on the multifaceted
responses of the novel to key global challenges, including
migration and cosmopolitanism, posthumanism and ecosickness, human
and animal rights, affect and biopolitics, human cognition and
anxieties of inattention, and the transculturality of terror. By
doing so, it testifies to the ongoing cultural relevance of the
genre. Lastly, it examines a range of 21st-century Anglophone
novels to encourage new critical discourses in literary studies.
This book deals with the poetics of the human face, the art of
physiognomy, and strategies of nonverbal communication in
Shakespeare's plays. It offers new insight into Shakespeare's modes
of characterisation, and his art of performance. In Shakespeare's
plays, the human face is a focal point. As an area where expression
and impression meet (and, ideally, correspond), its reliability and
trustworthiness are frequently put to the test, sparking off a
controversy which serves as a significant and highly challenging
subtext to the overall plot.
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