Jane Eyre, written by Charlotte Brontë and first published in 1847, has been translated more than five hundred times into over sixty languages. Prismatic Jane Eyre argues that we should see these many re-writings, not as simple replications of the novel, but as a release of its multiple interpretative possibilities: in other words, as a prism.
This timely volume focuses on the period of decolonization and the Cold War as the backdrop to the emergence of new and diverse literary aesthetics that accompanied anti-imperialist commitments and Afro-Asian solidarity. Competing internationalist frameworks produced a flurry of writings that made Asian, African and other world literatures visible to each other for the first time. The book’s essays examine a host of print culture formats (magazines, newspapers, manifestos, conference proceedings, ephemera, etc.) and modes of cultural mediation and transnational exchange that enabled the construction of a variously inflected Third-World culture which played a determining role throughout the Cold War.
‘Eternity is in love with the productions of time’. This original edited volume takes William Blake’s aphorism as a basis to explore how British Romantic literature creates its own sense of time. It considers Romantic poetry as embedded in and reflecting on the march of time, regarding it not merely as a reaction to the course of events between the late-eighteenth and mid-nineteenth centuries, but also as a form of creative engagement with history in the making.
A stark departure from traditional philology, What is Authorial Philology? is the first comprehensive treatment of authorial philology as a discipline in its own right. It provides readers with an excellent introduction to the theory and practice of editing ‘authorial texts’ alongside an exploration of authorial philology in its cultural and conceptual architecture.
In this fascinating collection of essays Harvard Emeritus Professor Karl S. Guthke examines the ways in which, for European scholars and writers of the eighteenth and early nineteenth century, world-wide geographical exploration led to an exploration of the self.
This book is a history of love and the challenge love offers to the laws and customs of its times and places, as told through poetry from the Song of Songs to John Milton’s Paradise Lost. It is also an account of the critical reception afforded to such literature, and the ways in which criticism has attempted to stifle this challenge.
This is a book about the power game currently being played out between two symbiotic cultural institutions: the university and the novel. As the number of hyper-knowledgeable literary fans grows, students and researchers in English departments waiver between dismissing and harnessing voices outside the academy. Meanwhile, the role that the university plays in contemporary literary fiction is becoming increasingly complex and metafictional, moving far beyond the ‘campus novel’ of the mid-twentieth century.
In the late nineteenth and early twentieth centuries the short story – sometimes seen as the ultimate test of an author’s creativity – was at its most popular. This book is the only study to focus exclusively on this classic period across French, English, Italian, Russian and Japanese writing. Goyet shows that authors managed to create brilliant short stories using the very simple ‘tools of brevity’ of that period. Demonstrating that, despite the apparent intention of these stories to question bourgeois ideals, they mostly affirmed the prejudices of the readers, this book forces us to rethink our preconceptions about this ‘forgotten’ genre.
This collection brings together for the first time select works in English by the major Swedish modernist poet and critic Göran Printz-Påhlson. It was Printz-Påhlson who introduced poetic modernism to Scandinavia, and his essays and poems delve deeply into English, American and continental modernist traditions. In addition to Letters of Blood, the collection also includes The Words of the Tribe, Printz-Påhlson’s major statement on modern poetics, as well as essays on style, irony, realism, and the relationship between historical drama and historical fiction. Printz-Påhlson’s poetry in English continues to explore these themes by different, often surprisingly innovative, means.
The Book of Judith has fascinated artists and authors for centuries, and is becoming a major field of research in its own right. This book is the first multidisciplinary collection to discuss representations of Judith through the centuries. Bringing together scholars from around the world, it transforms our understanding of Judith’s enduring story across a wide range of disciplines. The book includes sections on Judith in Christian, Jewish and secular textual traditions, and representations of Judith in art, music and theatre. It also includes new archival source studies, and translations of unpublished manuscripts and texts previously unavailable in English.
Germany has had a profound influence on English stories for children. While some works, such as the Grimm fairytales, quickly became classics, as this book demonstrates, many other, lesser-known works have been fundamental in the development of English children’s stories during the 19th century and beyond. In the first comprehensive study of the impact of Germany on English children’s books, David Blamires explores a wealth of translated and adapted material from 1780 to the First World War.