A brief, elegant, rediscovered novel of the Fifties, much in the vein of the author's mentor Muriel Spark, about an Englishwoman who misunderstands her and her family's past.
Conrad's fiction is characterized by an enduring recourse to the performing arts for metaphor, allegory, symbol, and subject matter; however, this aspect of Conrad's non-dramatic works has only recently begun to come into its own among literary critics. In response to this seminal moment, Joseph Conrad and the Performing Arts offers an exciting, interdisciplinary forum for one of the most interesting and nascent areas of Conrad studies. Adopting a variety of theoretical approaches, the contributors examine major and neglected works within the context of the performing arts: cultural performance in Conrad's Malay fiction; Conrad's use and parody of popular traditions such as melodrama, Grand-Guignol, and commedia dell'arte; Conrad's engagement with the visual culture of early cinema; Conrad's interest in the motifs of shadowgraphy (shadow plays); Conrad's relationship to Shakespeare; and the enduring influence of opera on his work. Taken together, the essays provide, through solid scholarship and richly provocative speculation, new insight into Conrad's oeuvre, and invite future dialogue in the burgeoning field of Conrad and the performing arts.
Novel Politics aims to change the current consensus of thinking about the nineteenth-century novel. This assumes that the novel is structured by bourgeois ideology and morality, so that its default position is conservative and hegemonic. Such critique comes alike from Marxists, readers of nineteenth-century liberalism, and critics making claims for the working-class novel, and systematically under-reads democratic imaginations and social questioning in novels of the period. To undo such readings means evolving a new praxis of critical writing. Rather than addressing the explicitly political and deeply limited accounts of the machinery of franchise and ballot in texts, it is important to create a poetics of the novel that opens up its radical aspects. This can be done partly by taking a new look at some classic nineteenth-century political texts (Mill, De Tocqueville, Hegel), but centrally by exploring four claims: the novel is an open Inquiry (compare philosophical Inquiries of the Enlightenment contemporary with the novel's genesis), a lived interrogation, not a pre-formed political document; radical thinking requires radical formal experiment, creating generic and ideological disruption simultaneously and putting the so-called realist novel and its values under pressure; the poetics of social and phenomenological space reveals an analysis of the dispossessed subject, not the bildung of success or overcoming; the presence of the aesthetic and art works in the novel is a constant source of social questioning. Among texts discussed, six novels of illegitimacy, from Jane Austen to Scott to George Eliot and George Moore, stand out because illegitimacy, with its challenge to social norms, is a test case for the novelist, and a growing point of the democratic imagination.
Essays, short stories and poems by eminent creative writers, critics and scholars from three continents celebrate the literary achievements of Barbara Hardy, the foremost exponent of close critical reading in the latter half of the twentieth century and today. Her work, as the essays in the volume bear witness, encompasses 19th and 20th century British fiction, poetry, and Shakespeare. In addition to an introduction outlining and assessing Hardy's career and writing, there is an extensive bibliography of her work. Comparatively short, concise essays, stories and poems by twenty distinguished hands express the eclectic nature of Barbara Hardy's work and themselves form a many-faceted critical/creative gathering. Form and Feeling moves away from the traditional festschrift to create an innovative critical genre that reflects the variety and nature of its subject's work. In addition to Barbara Hardy's own writing, authors and subjects treated include Anglo-Welsh poetry, nineteenth century fiction, Margaret Atwood, Wilkie Collins, Ivy Compton Burnet, Charles Dickens, George Eliot, Elizabeth Gaskell, G. M. Hopkins, Wyndham Lewis, George Meredith, Alice Meynell, Harriet Beecher Stowe, Shakespeare, and W. B. Yeats, amongst others.
This book is the first to look at Lady Mary Wortley Montagu's achievement as a vital figure in the women's literary tradition. Robert Halsband's book on her life, the sixth this century and published in 1956, was the first to apply scholarly techniques to establishing the facts. The inaccurateaccounts given before Halsband testify to Lady Mary's compelling interest as a woman who wrote, travelled, campaigned publicly for medical advance, gossiped, and was involved in high-profile literary quarrels. Knowledge of her life has made considerable gains since Halsband, as understanding of theissues involved in trying to move between the roles of proper lady and woman writer has increased enormously. This life fruitfully exploits the tension between literary history and feminist reading. Isobel Grundy highlights Montagu's adolescent longing for literary fame, her growing understandingof the implications of this for gender and class imperatives, the frustrations and concessions involved in her collaborations with male writers, the punitive responses of society, the gaps at every stage of her life between her ascertainable circumstances and her construction of herself in lettersand other writings. The book situates those writings in relation to her own theorizing and her very wide reading in women's texts as well as men's. Finally, it looks at a range of contemporary and near-contemporary responses.
Imagined States examines representations of the law in British and Nigerian high-brow, middle-brow and popular fiction and journalism. Drawing on a rich range of examples, the book focuses on the imaginative role that the state of exception played in the application of indirect rule during British colonialism and in the legal machinations of the postcolonial state. It reads works by Chinua Achebe, Joyce Cary, Cyprian Ekwensi and Edgar Wallace, together with a range of Nigerian market literature and journalism.
Readers will laugh, cry and rage as Elizabeth Feinman, passionate about her job, her students and the issues of the day, tumbles from grace the more deeply involved she gets in trying to improve all three. Set in a junior-senior high school in the nineties, this story reveals what passes for standards and discipline and how a school administration, eager for national attention, can cook the books, shut down criticism, avoid critical evaluation and rid itself of whomever it cares to. The narrative, which spans four decades, touches on raising the mantel for women, introducing sports to girls and adapting to societal changes. It then follows a school district's efforts to rid itself of a thorn in its side. As Ms. Feinman stands up to career ending challenges, readers will no longer believe that teaching is easy; teachers don't care; top-down management improves what goes on in classrooms; tenure protects teachers; and that a strong professional association is unnecessary if teachers are good at what they do.
In the first book-length treatment of Elizabeth von Arnim's fiction, Isobel Maddison examines her work in its historical and intellectual contexts, demonstrating that von Arnim's fine comic writing and complex and compelling narrative style reward close analysis. Organised chronologically and thematically, Maddison's book is informed by unpublished material from the British and Huntington Libraries, including correspondence between von Arnim, her publishers and prominent contemporaries such as H.G. Wells, Bertrand Russell and her cousin Katherine Mansfield -- whose early modernist prose is seen as indebted to von Arnim's earlier literary influence. Maddison's exploration of the novelist's critical reception is situated within recent discussions of the ’middlebrow’ and establishes von Arnim as a serious author among her intellectual milieu, countering the misinformed belief that the author of such novels as Elizabeth and Her German Garden, The Caravaners, The Pastor's Wife and Vera wrote light-hearted fiction removed from gritty reality. On the contrary, various strands of socialist thought and von Arnim's wider political beliefs establish her as a significant author of British anti-invasion literature while weighty social issues underpin much of her later writing.
This book focuses on case studies of vocabulary strategy use and presents an in-depth account of the vocabulary learning experiences of Chinese students in the UK. It challenges the view that vocabulary strategies result only from learners’ cognitive choices, and provides insightful analysis of the interplay between learner characteristics, agency and context in the process of strategic learning. The author makes a strong case for using qualitative methodologies to examine the dynamic, complex and contextually situated nature of strategic vocabulary learning. Drawing on multiple data sources, the book discusses issues that are central to the continuing development of vocabulary strategy research and offers theoretical, research-based and practical suggestions for future exploration. This book will appeal to students and scholars of second language acquisition, vocabulary and applied linguistics.
Now with a new Preface and Afterword by the author “Outstanding . . . [Isobel Coleman] takes us into remote villages and urban bureaucracies to find the brave men and women working to create change in the Middle East.”—Los Angeles Times In this timely and important book, Isobel Coleman shows how Muslim women and men across the Middle East are working within Islam to fight for women’s rights in a growing movement of Islamic feminism. Journeying through Saudi Arabia, Iraq, Iran, Afghanistan, and Pakistan, Coleman introduces the reader to influential Islamic feminist thinkers and successful grassroots activists working to create economic, political, and educational opportunities for women. Their advocacy for women’s rights based on more progressive interpretations of Islam are critical to bridging the conflict between those championing reform and those seeking to oppress women in the name of religious tradition. Socially, culturally, economically, and politically, the future of the region depends on finding ways to accommodate human rights, and in particular women’s rights, with Islamic law. These reformers—and thousands of others—are the people leading the way forward. Featuring new material that addresses how the Arab uprisings and other recent events have affected the social and political landscape of the region, Paradise Beneath Her Feet offers a message of hope: Change is coming to the Middle East—and more often than not, it is being led by women. Praise for Paradise Beneath Her Feet “Clearly written, deeply moving, and wonderfully enlightening.”—Reza Aslan, author of No god but God “[An] engrossing portrait of real Muslim women that reveals how Islamic feminists . . . are working with and within the culture, rather than against it . . . to forge ‘a legitimate Islamic alternative to the current repressive system.’ Coleman doesn’t diminish the enormity of the struggle, but she argues convincingly that it might yet rewrite Islam’s future.”—Publishers Weekly (starred review) “A nuanced view of Islam’s role in public life that is cautiously hopeful.”—The Economist “Eye-opening . . . Deeply religious, profoundly determined and modern in every way, these are twenty-first-century women bent on change. Hear them roar and see a future being born before our eyes.”—Booklist
Isobel Hurst examines the role of women writers in the Victorian reception of ancient Greece and Rome, showing that they had a greater imaginative engagement with classical literature than has previously been acknowledged. The restrictions which applied to women's access to classical learning liberated them from the repressive and sometimes alienating effects of a traditional classical education. Women writers' reworkings of classical texts serve a variety of purposes: to validate women's claims to authorship, to demand access to education, to highlight feminist issues through the heroines of ancient tragedy, to repudiate the warrior ethos of ancient epic.
From contemporary deployments of taxidermy, magic lanterns and microscopy to the visualization of forgotten lives, marginalized narratives and colonial histories, this book explores how the work of artists including Mat Collishaw, Yinka Shonibare, Tessa Farmer, Mark Dion, Dorothy Cross and Ingrid Pollard reimag(in)es the Victorians in the ‘present’. Examining how recent paintings, sculptures, photographs, installations and films revisit and re-present nineteenth-century technologies, practices and events, the book’s rich interdisciplinary approach applies literary, media and linguistic theories to its analysis of visual art, alongside in-depth discussions of the Victorian inventions, concepts and narratives that they invoke. The book’s emphasis on how – and why – we represent the historical past makes its contribution particularly timely. And by drawing attention to the importance of historiography to the work of these artists, it also unravels the complicated history of History itself. This book will speak to diverse audiences including those interested in art history, visual culture, Victorian and neo-Victorian studies, as well as literature, histories of science and media, postcolonialism, museology, gender studies, postmodernism and the history of ideas.
In the years covered by this volume high Victorian poetry reached it's prolific peak and stimulated a corresponding abundance of critical comment. As poets turned to new themes and new modes of presenting them, critics sought to redifine the function of poetry in their time and nowhere with greater immediacy and sense of the cultural issues at stake than in the periodicals. Two occasions when discussion was particularly lively - in relation to Tennyson's early poems and Arnold's 1853 Preface - are here used by Dr. Armstrong as focal points and with them in mind she has selected and annotated 13 substantial reviews, principally devoted to the poetry of Tennyson, Browning, Arnold and Clough. Dr. Armstrong's own long Introduction serves equally as an indispensable preliminary guide to the fundamentals of Victorian criticism and as an authoritative summing-up of the debate on poetics conducted at large in the body of the book by the Victorians themselves. Detailed bibliographies for further reading are provided at the end of each main section.
First published in 1969, this edition collection brings together a series of essays offering a re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet’s work where critical discussion seems most necessary.
Second in line, first in love A secret society of younger sons, sworn to aid and abet each other, no matter the scandal or cost.... Their fathers and brothers may rule the world, but they run it . . . and when it comes to passion, they refuse to accept second best. Searching for hidden treasure, finding forbidden fantasy London's most sensual former courtesan, Viola Whedon, is incapable of being seduced-she does the seducing. Until she meets Leonidas Vaughn. Her salacious memoirs have made her the target of half the lords in England, and Vaughn is the only man she can turn to. When he promises to protect her-and to make her beg for his touch-the alluring beauty finds both offers impossible to refuse. Leonidas Vaughn secretly believes Viola possesses a fortune given to his family by the King of France. So the strong and sexy Vaughn charms his way into Viola's life . . . and her bed. But when their arrangement is consummated, he'll experience pleasure far beyond his wildest fantasies-and realize his heart may need the most protection of all.
This book, with each psalm paraphrased in the English of today, presents something old in a new and fresh way. If you already love the Psalms, this version will renew that love. On the other hand, if you find the Psalms repetitive and problematic in any way, this book may just change your mind. Those who seldom look at the Psalms these days will be pleasantly surprised to read, understand, and even enjoy the way they are presented in Psalms Now. These psalms are written in everyday speech by someone who is a poet, a person of experience and wisdom, and, unlike nearly all other authors of books on the Psalms, a woman. Her adaptations of the Psalms have been called “beautiful” and “clear and strong.” They have been described as “flowing, coherent and convincing, and completely accessible” because they are written in “simple and yet helpful language.”
In a work that is uniquely comprehensive and theoretically astute, Isobel Armstrong rescues Victorian poetry from its longstanding sepia image as `a moralised form of romantic verse', and unearths its often subversive critique of nineteenth-century culture and politics.
This two volume text for beginners offers a simple & effective method for those who desire to learn to speak English. Each lesson contains grammar presentation followed by conversation practice. Pronunciation exercises, short readings, & review sections are included.
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