First published in 1959, Fade Out is a stunning, surreal criticism of American life in the materialistic, youth-and money-crazed 1950s. Its hero is Dick Twombley, a 74-year old retired bank clerk who struggles to retain what remains of his dignity in a world that regards old age as an embarrassment. When he is mistakenly accused of kidnapping two little girls he has befriended, Dick's daughter packs him off to a suburban New York City retirement home. He soon makes his escape with the help of a fellow inmate, and together the two "fugitives from injustice" embark on a cross-country odyssey that lands them in the abandoned hotel of an Arizona ghost town.
Considers George Orwell's writing about the East, and the presence of the East in his writing and argues that in thinking of Orwell as an 'Anglo-Indian writer', not just in upbringing and experience, but in many of his views, perceptions, and reactions, a different Orwell emerges.
This is an ambitious and fascinating analysis of early twentieth-century English literature from Kipling, Conrad, Lawrence and Forster through figures like Joyce and Woolf to writers such as Evelyn Waugh. There are chapters on the younger writers of the age as well as the more popular minor writers like Buchan and Dornford Yates.
The essays in this collection explore the concept of 'transubstantiation', its adaptations and transformations in English and European culture from the Elizabethans to the twentieth century. Favoring an interartistic and comparative perspective, a wide range of critical approaches, from the philosophical to the semiological, from cultural materialism to gender and queer studies, are brought to bear on authors ranging from Descartes, Shakespeare and Joyce, to Macpherson, Madox Ford, and Winterson, as well as on contemporary sculpture and an Italian adaptation of Conrad for the screen in an unusually comic vein. The volume, edited by Douglas Burnham of Staffordshire University and by Enrico Giaccherini of Pisa University, will be of interest to those concerned with the cultural history of Christianity and with the remarkable critical and theoretical insights generated by contemporary approaches to this traditional theme.
Eastern Figures is a literary history with a difference. It examines British writing about the East – centred on India but radiating as far as Egypt and the Pacific – in the colonial and postcolonial period. It takes as its subject "the East" that was real to the British imagination, largely the creation of writers who described and told stories about it, descriptions and stories coloured by the experience of empire and its aftermath. It is bold in its scope, with a centre of gravity in the work of writers like Stevenson, Kipling, Conrad, and Orwell, but also covering less well-known literary authors, and including Anglo-Indian romance writing, the reports and memoirs of administrators, and travel writing from Auden and Isherwood in China to Redmond O'Hanlon in Borneo. Eastern Figures produces a history of this writing by looking at a series of "figures" or tropes of representation through which successive writers sought to represent the East and the British experience of it – tropes such as exploring the hinterland, going native, and the figure of rule itself. Eastern Figures is accessible to anyone interested in the literary and cultural history of empire and its aftermath. It will be of especial interest to students and scholars of colonial and postcolonial writing, as it raises issues of identity and representation, power and knowledge, and centrally the question of how to represent other people. It has original ideas and approaches to offer specialists in literary history of the nineteenth and twentieth centuries, cultural historians, and researchers in colonial discourse analysis, postcolonial studies, and Asian area studies and history. It is also aimed at students in courses in literature and empire, culture and imperialism, and cross-cultural studies.
The Second World War was a watershed moment in foreign policy for the Labour Party in Britain. Before the war, British socialists had held that nationalism was becoming obsolete and that humanity was steadily evolving towards the ideal of a single world government. The collapse of the League of Nations destroyed this optimistic vision, compelling Labour to undertake a fundamental review of its entire approach to foreign affairs during a period of unprecedented global crisis. This book traces the controversy that ensued, as the British democratic left set about the task of defining the principles of a radically new international system for the postwar world. The schemes proposed by Labour policymakers during these years encompassed a wide variety of political institutions aiming at the restraint or supersession of the sovereign nation-state. What they shared in common, however, was a reconceptualization of British identity, in which the hyper-patriotism of the wartime period blended with the left's traditional internationalism. This new 'muscular' internationalism was to have a major impact upon the evolution of entities as diverse as the United Nations Organizations, the British Commonwealth and the accelerating campaign in favor of European unity after Labour assumed the reins of government in 1945. Breaking with the traditional accounts that place Cold War tensions at the centre of the Attlee government's activities in the immediate postwar years, R.M. Douglas's book provides an entirely new framework for reassessing British foreign policy and left-wing concepts of national identity during the most turbulent moment of Britain's modern history. This book will be essential reading for all students and researchers of British foreign policy, the Labour Party and international relations.
Originally published in 1972, Themes and Images in the Medieval English Religious Lyric discusses themes and images in religious lyric poetry in Medieval English poetry. The book looks at the affect that tradition and convention had on the religious poetry of the medieval period. It examines the background of the lyrics, including the Latin tradition which was inherited by medieval vernacular and shows how religious lyric poetry presents, through a rich variety of images, the significant incidents in the scheme of Christ’s redemption, such as the Annunciation, the Nativity, the Passion and the Resurrection. It also considers the lyrics which were designed to assist humanity in the task of living in a Christian life, as well as those which prepared them for death.
In this provocative and wide-ranging study, Douglas Mao argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao shows that modernists were captivated by physical objects, which, regarded as objects, seemed to partake of a utopian serenity beyond the reach of human ideological conflicts. Under a variety of historical pressures, Mao observes, these writers came to revere the making of such things, and especially the crafting of the work of art, as the surest guarantee of meaning for an individual life. Yet they also found troubling contradictions here, since any kind of making, be it handicraft or mass production, could also be understood as a violation of the nonhuman world by an increasingly predatory and imperialistic subjectivity. If modernists began by embracing production as a test of meaning, then they frequently ended by testing production itself and finding it wanting. To make this case, Mao interweaves social and political history with readings in literature, the visual arts, philosophy, and economics. He explores modernism's relation to aestheticism, existentialism, and the culture of consumption, joining current debates on the politics of engagement and the social meanings of art. And he shows conclusively, in this elegantly written and consistently surprising work, that we cannot understand the theories and practices of modernism without addressing the question of the object and production's ambivalent allure.
Approaches abound to help us beneficially, enjoyably read fiction, poetry, and drama. Here, for the first time, is a book that aims to do the same for the essay. G. Douglas Atkins performs sustained readings of more than twenty-five major essays, explaining how we can appreciate and understand what this currently resurgent literary form reveals about the “art of living.” Atkins’s readings cover a wide spectrum of writers in the English language--and his readings are themselves essays, gracefully written, engaged, and engaging. Atkins starts with the earliest British practitioners of the form, including Francis Bacon, John Dryden, Alexander Pope, and Samuel Johnson. Transcendentalist writers Henry David Thoreau and Ralph Waldo Emerson are included, as are works by Americans James Baldwin, Zora Neale Hurston, and E. B. White. Atkins also provides readings of a number of contemporary essayists, among them Annie Dillard, Scott Russell Sanders, and Cynthia Ozick. Many of the readings are of essays that Atkins has used successfully in the classroom, with undergraduate and graduate students, for many years. In his introduction Atkins offers practical advice on the specific demands essays make and the unique opportunities they offer, especially for college courses. The book ends with a note on the writing of essays, furthering the author’s contention that reading should not be separated from writing. Reading Essays continues in the tradition of such definitive texts as Understanding Poetry and Understanding Fiction. Throughout, Atkins reveals the joy, delight, grace, freedom, and wisdom of “the glorious essay.”
Morrey offers a new interpretation of one of the most innovative directors in the history of cinema, covering the whole of Godard's career from the French New Wave to the more recent triumphs of 'Histoire(s) du cinema' and 'Eloge de l'amour'.
Douglas Biber's new book extends and refines the research and methodology reported in his ground breaking Variation Across Speech and Writing (CUP 1988). In Dimensions of Register Variation he gives a linguistic analysis of register in four widely differing languages: English, Nukulaelae Tuvaluan, Korean, and Somali. Using the multi-dimensional analytical framework employed in his earlier work, Biber carries out a principled comparison of both synchronic and diachronic patterns of variation across the four languages. Striking similarities as well as differences emerge, allowing Biber to predict for the first time cross-linguistic universals of register variation. This major new work will provide the foundation for the further investigation of cross-linguistic universals governing the pattern of discourse variation across registers, and will be of wide interest to any scholar interested in style, register and literacy.
The first study of life narratives produced for, about, and written by children, this book examines the recent popularity of children's biographies and how they engage with the biggest issues of our time: environmental change, health crises, education, and children's personal and political development. Beginning with a literary-historical overview, Children and Biography proceeds to examine 21st-century examples and trends such as illustrated texts including Women in Science, the Fantastically Great Women Who... books, Rebel Dogs, Goodnight Stories for Rebel Girls, Kids Who Did, My Beautiful Birds and The Journey. The book also considers archives of children's writings and drawings, in particular the testimonies of child asylum seekers, children's biographical art, and 'Lockdown diaries' produced during the Covid-19 pandemic. By analyzing these works alongside empirical studies into how such material is received by child readers, and how texts generated by children are perceived both by them and their parents, this book provides new knowledge on how biographies for children are produced and read. Comprehensive and original, Children and Biography, presents an ethical methodological framework for scholarly practice when reading, witnessing and interpreting children's life narratives. The book offers a mandate for future researchers: to place children's voices and writing at the centre of inquiries in ways that facilitate genuine agency for child authors.
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