This title was first published in 2000: "Comedy" and "humour" are not words most associate with the Victorian period, yet their culture was rife with laughter and irony. The 12 essays in this volume reanimate this "comic spirit" by exploring the humour in its social context. While previous studies of humour in the period focus on the age's own ongoing interest in the old distinction in comic theory between wit and humour, this volume aims to show how inadequate this distinction is in accounting for the many types of Victorian comic representation. The essays turn from linguistic or psychological analyses of humour towards the social production of humour and the cultural dynamics which underlie it.
Domestic issues, chastity, morality, marriage and love are concerns we typically associate with Victorian female characters. But what happens when men in Victorian novels begin to engage in this type of feminine discourse? While we are familiar with certain Victorian women seeking freedom by moving beyond the domestic sphere, there is an equally interesting movement by the domestic man into the private space through his performance of femininity. This book defines the domesticated bachelor, examines the effects of the blurring of boundaries between the public and private spheres, and traces the evolution of the public discourse on masculinity in novels such as Bronte's Shirley, Braddon's Lady Audley's Secret, Eliot's Daniel Deronda, and Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. This bachelor, along with his female counterpart, the New Woman, opens up for discussion new definitions of Victorian masculinity and gender boundaries and blurs the rigid distinction between the gendered spaces thought to be in place during the Victorian period.
A PDF version of this book is available for free in open access via the OAPEN Library platform (www. oapen. org). Fictional reconstructions of the Gospels continue to find a place in contemporary literature and in the popular imagination. Present day writers of New Testament fiction and drama are usually considered as part of a tradition formed by mid-to-late-twentieth-century authors such as Robert Graves, Nikos Kazantzakis and Anthony Burgess. This book looks back further to the late-nineteenth and early-twentieth centuries, when the templates of the majority of today's Gospel fictions and dramas were set down. In doing so, it examines the extent to which significant works of biblical scholarship both influenced and inspired literary works. Focusing on writers such as Oscar Wilde, George Moore and Marie Corelli, this timely new addition to the English Association Monographs series will be essential reading for scholars working at the intersection of literature and theology.
During the last decades of the nineteenth century, Charles Darwin, Thomas Henry Huxley, Walter Pater and others changed the nature of thought concerning the human body and the physical environment that had shaped it. In response, the 1890s saw the publication of a series of remarkable literary works that had their genesis in the intense scientific and aesthetic activity of those preceding decades—texts that emphasized themes of degeneration and were themselves stylistically decompositive, with language both a surrogate for physical deformity and a source of anxiety. Susan J. Navarette examines the ways in which scientific and cultural concerns of late nineteenth-century England are coded in the horror literature of the period. By contextualizing the structural, stylistic, and thematic systems developed by writers seeking to reenact textually the entropic forces they perceived in the natural world, Navarette reconstructs the late Victorian mentalité. She analyzes aesthetic responses to trends in contemporary science and explores horror writers' use of scientific methodologies to support their perception that a long-awaited period of cultural decline had begun. In her analysis of the classics Turn of the Screw and Heart of Darkness, Navarette shows how James and Conrad made artistic use of earlier "scientific" readings of the body. She also considers works by lesser-known authors Walter de la Mare, Vernon Lee, and Arthur Machen, who produced fin de siècle stories that took the form of "hybrid literary monstrosities." To underscore the fascination with bodily decay and deformation that these writers explored, The Shape of Fear is enhanced with prints and line drawings by Victor Hugo, James Ensor, and other artists of the day. This elegantly written book formulates a new canon of late Victorian fiction that will intrigue scholars of literature and cultural history.
A history of heartbreak-replete with beheadings, uprisings, creepy sex dolls, and celebrity gossip-and its disastrously bad consequences throughout time Spanning eras and cultures from ancient Rome to medieval England to 1950s Hollywood, Jennifer Wright's It Ended Badly guides you through the worst of the worst in historically bad breakups. In the throes of heartbreak, Emperor Nero had just about everyone he ever loved-from his old tutor to most of his friends-put to death. Oscar Wilde's lover, whom he went to jail for, abandoned him when faced with being cut off financially from his wealthy family and wrote several self-serving books denying the entire affair. And poor volatile Caroline Lamb sent Lord Byron one hell of a torch letter and enclosed a bloody lock of her own pubic hair. Your obsessive social media stalking of your ex isn't looking so bad now, is it? With a wry wit and considerable empathy, Wright digs deep into the archives to bring these thirteen terrible breakups to life. She educates, entertains, and really puts your own bad breakup conduct into perspective. It Ended Badly is for anyone who's ever loved and lost and maybe sent one too many ill-considered late-night emails to their ex, reminding us that no matter how badly we've behaved, no one is as bad as Henry VIII.
A fiercely fabulous look at men’s fashion rule-breakers and icons Sashay away, ladies: it’s the boys’ turn for the fashion spotlight. From Louis XIV to Kanye West, Jennifer Croll takes us on a tour of daring and different men throughout history who have all used fashion to get what they want. Just as she did in her award-winning Bad Girls of Fashion, Croll shows us the power of clothes and the links between fashion and politics, art, social movements, and more. Croll's lively and engaging prose draws in the reader, providing enough information to satisfy both budding fashionistas and pop-culture junkies alike. Aneta Pacholska’s illustrations are modern and fun, perfectly complementing the text and making the book as exciting to look at as it is to read. In-depth features include Louis XIV, Oscar Wilde, Marlon Brando, Malcolm X, Andy Warhol, Karl Lagerfeld, Clyde Frazier, Malcolm McLaren, David Bowie, and Kanye West, with a diverse array of shorter biographies enriching the text. *A Junior Library Guild Gold Standard Selection -- Jennifer Croll
Captivating and heart-wrenching from start to finish When Emily was a little girl, all she wanted to be when she grew up was a Full-Time Pioneer; in her Jehovah’s Witness family, the only imaginable future is a life of knocking on doors and handing out Watchtower magazines. But Emily starts to challenge her upbringing. She becomes closer to her closeted uncle, Tyler, as her older sister, Lenora, hangs out with boys, wears makeup, and gets a startling new haircut. After Lenora disappears, everything changes for Emily, and as she deals with her mental devastation she is forced to consider a different future. Alternating between Emily’s life as a child and her adult life in the city, Watch How We Walk offers a haunting, cutting exploration of “disfellowshipping,” proselytization, and cultural abstinence, as well as the Jehovah’s Witness attitude towards the “worldlings” outside of their faith. Sparse, vivid, suspenseful, and darkly humorous, Jennifer LoveGrove’s debut novel is an emotional and visceral look inside an isolationist religion through the eyes of the unforgettable Emily.
From 1880 to 1920, the first truly national visual culture developed in the United States as a result of the completion of the Pacific Railroad. Women, especially young and beautiful ones, found new lives shaped by their participation in that visual culture. This rapidly evolving age left behind the "cult of domesticity" that reigned in the nineteenth century to give rise to new "types" of women based on a single feature--a type of hair, skin, dress, or prop--including the Gibson Girl, the sob sister, the stunt girl, the hoochy-coochy dancer, and the bearded lady. Exploring both high and low culture, from the circus and film to newspapers and magazines, this work examines depictions of women at the dawn of "mass media," depictions that would remain influential throughout the twentieth century.
In the modern era, children experiencing grief were encouraged to dry their tears and 'be good soldiers.' How was this phenomenon interrogated and deconstructed in the period's literature? Be a Good Soldier initiates conversation on the figure of the child in modernist novels, investigating the demand for emotional suppression as manifested later in cruelty and aggression in adulthood. Jennifer Margaret Fraser provides sophisticated close readings of key works by Joseph Conrad, Virginia Woolf, and James Joyce, among others who share striking concerns about the concept of infantry both as a collection of infants, and as foot soldiers of war. A phenomenon associated traditionally with Freud, Fraser instead uses a unique, Derridean theoretical prism to provide new ways of understanding modernist concerns with power dynamics, knowledge, and meaning. Be a Good Soldier establishes a pioneering, nuanced vocabulary for further historical and cultural inquiries into modernist childhood.
The first monograph on a groundbreaking Surrealist masterpiece, Reading Claude Cahun's Disavowals offers a comprehensive account of Cahun's most important published work, Aveux non avenus (Disavowals). This study pays careful attention to the complex interrelationship between the photomontages and writings of Aveux non avenus, and explores how Cahun's work calls into question both the dominant culture of interwar France and the avant-garde of the era.
In Jennifer Wilde’s page-turning novel of romantic suspense, a young woman becomes the target of a stealthy killer when she tries to recapture her memory of a horrific crime Emmalynn Rogers remembers nothing of the night her wealthy employer was brutally murdered—and she was the only witness. A fisherman was arrested for the crime, but he died in prison before he could be brought to trial, swearing his innocence with his last breath. And if he didn’t kill Henrietta Stern, who did? When a surprising bequest makes Emmalynn the owner of Henrietta’s dilapidated Brighton estate, she decides it’s time to learn the truth about that tragic night. She finds herself caught between three men: Boyd Devlon, the house’s charming caretaker; Gordon Stuart, Henrietta’s rakish brother; and George Reed, who won’t rest until he clears his father’s name. But only two people know who murdered Henrietta—Emmalynn and a killer who will strike again when Emmalynn remembers.
This classic New York Times–bestselling historical romance tells the enthralling, passionate story of a young English woman who is wrongly convicted of a crime and auctioned off to the highest bidder in the American colonies Born out of wedlock to a London barmaid, Marietta Danver yearns to live life to its fullest despite her humble origins. But her dreams of love and happiness almost die in Newgate Prison, where she is convicted of a crime she didn’t commit and deported to North America to be sold into indentured servitude. In the wild Carolinas, Marietta uses her beauty to survive. But in doing so she arouses unruly passions in the hearts of three men: Derek Hawke, the enigmatic planter who buys Marietta for an outrageous sum; brash, charming Jeff Rawlins, who sweeps her away to Louisiana; and a gentleman whose fervor may conceal a violent madness. From New Orleans’ red-light district to a fashionable estate in Natchez, from the struggles of a life of bondage to the perils of helping to transport slaves to freedom, Marietta vows to prevail and find a true and lasting love. The Marietta Danver Trilogy also includes Love Me, Marietta and When Love Commands.
A writer travels to a fabled estate and uncovers a mystery both sensational and deadly in master storyteller Jennifer Wilde’s novel of unparalleled romantic suspense Mystery novelist Susan Marlow visited Gordonwood only once, as an impressionable twelve-year-old girl, but she never forgot the stately Victorian mansion. When her aunt Agatha invites her for a second visit, she meets Craig Stanton, a devilishly attractive scholar who is writing a history book about Sir Robert Gordon, the legendary Victorian-era explorer. Lady Agatha has given Stanton exclusive access to her family’s papers. But some of those priceless documents are missing. A series of break-ins convince Susan—and the local police—that someone is desperate to get their hands on the Gordon manuscripts. The disappearance of a local girl, a suspicious death, and a body that washes up along the Thames make Susan realize that she might be the final obstacle in a killer’s cunningly orchestrated endgame.
A guide to pseudonyms, pen names, nicknames, epithets, stage names, cognomens, aliases, and sobriquets of twentieth-century persons, including the subjects' real names, basic biographical information, and citations for the sources from which the entries were compiled. Covers authors, sports figures, entertainers, politicians, military leaders, underworld figures, religious leaders, and other contemporary personalities.
New York Times bestselling author Jennifer Ryan returns to the Wyoming Wilde series as the third Wilde brother finds himself entangled with his ex-girlfriend after she’s witness to a murder and the killer’s next target. Perfect for fans of authors like Maisey Yates, Joanne Kennedy and Carolyn Brown as well as Diana Palmer, Linda Lael Miller, and BJ Daniels. They’re tough, tenacious, and sometimes tormented; they’re the Wildes of Wyoming, three brothers whose family ties are as strong as their wills. And when Max Wilde reunites with his lost love, he’ll do anything to keep her safe and in his arms… Max Wilde lived up to his last name and then some. Years ago, he fell hard and fast for Kenna Baker, thinking they had a love that would last for all time. When a horrible misunderstanding drove them apart, Max thought his chance to find the kind of love his brothers have is gone forever. He changed his bad boy ways, but he never got over the one who got away. Now, their lives have collided once again, as Kenna is the only witness to a murder and needs a place to hide while in protective custody. Max is determined to keep her safe on the ranch, and also maintain an emotional distance, but as they spend more time together, the lies and half-truths that once drove them apart are also uncovered, bringing them closer than ever. Kenna has always laid claim to Max’s heart—and soul—but will he be able to save her…and their love...before it’s too late?
New York Times bestselling author Jennifer Ryan begins a brand-new series with a western set romance between a former soldier and the mother of his child. Perfect for fans of Diana Palmer, Linda Lael Miller, and BJ Daniels. They’re tough, tender, and sometimes tormented; they’re the Wildes of Wyoming, three brothers whose family ties are as strong as their wills. Chase Wilde never expected to fall in love, especially with Shelby Payne. Years before, one passionate night had drawn these two lost souls together. Then Chase left on deployment with the Army, while Shelby raised their baby alone. Now he’s back, a wounded warrior determined to turn his life around. Shelby knows what it’s like to lose everything, including her own family. So she offers him a bargain: if he can prove himself to be the man he says he is, she will let him into their daughter’s life...and maybe even into hers. Chase knows it will take a lot to prove to Shelby that there’s more between them than the single night they spent together. She’s everything he’s ever wanted, including the voice of reason he needs to reconcile his past and be the man he wants to be for them both. But just as their lives come together, she’s torn away from him by a dangerous person from her past, and saving her means saving himself . . . because he can’t live without her.
In Jennifer Wilde’s spine-tingling Gothic romance, a young woman is plunged into a treacherous world of secrets, lies, and murder when she moves into a mysterious mansion by the sea When Lauren Moore is left penniless by the death of her mother, the invitation to live with distant relatives in Cornwall seems like the answer to her prayers. But Falconridge, perched on the edge of a steep cliff, waves crashing onto the rocks below, is a place of shadowed halls and locked doors. Why does the housekeeper warn Lauren to leave and never come back? What secrets does the house hold? Most intriguing of all is Norman Wade, Lauren’s cousin by marriage and heir to the brooding ancestral mansion. The devilishly handsome playboy warns her of the perils that could befall her at his home. More determined than ever to stay and unlock Falconridge’s mystery, Lauren begins to suspect that the greatest danger comes from the seductive Wade himself. Then tragedy strikes—and no one is safe.
Queer Velocities: Time, Sex, and Biopower on the Early Modern Stage explores how seventeenth-century French theater represents queer desire. In this book, the first queer theoretical treatment of canonical French theater, Jennifer Eun-Jung Row proposes that these velocities, moments of unseemly haste or strategic delay, sparked new kinds of attachments, intimacies, and erotics. Rather than rely on fixed identities or analog categories, we might turn to these affectively saturated moments of temporal sensation to analyze queerness in the premodern world. The twin innovations of precise, portable timepieces and the development of the theater as a state institution together ignited new types of embodiments, orderly and disorderly pleasures, and normative and wayward rhythms of life. Row leverages a painstakingly formalist and rhetorical analysis of tragedies by Jean Racine and Pierre Corneille to show how the staging of delay or haste can critically interrupt the normative temporalities of marriage, motherhood, mourning, or sovereignty—the quotidian rhythms and paradigms so necessary for the biopolitical management of life. Row’s approach builds on the queer turn to temporality and Elizabeth Freeman’s notion of the chronobiopolitical to wager that queerness can also be fostered by the sensations of disruptive speed and slowness. Ultimately, Row suggests that the theater not only contributed to the glitter of Louis XIV’s absolutist spectacle but also ignited new forms of knowing and feeling time, as well as new modes of loving, living, and being together.
A young woman disappears and her cousin seeks answers from the enigmatic owner of a grand English estate in New York Times–bestselling author Jennifer Wilde’s page-turning novel of romantic suspense Actress Deborah Lane has come to Blackcrest manor to find out why her cousin and only living relative has inexplicably broken off all communication. But no one at the legendary two-hundred-year-old mansion has heard of Delia Lane, including Derek Hawke, the man Delia claimed she was to marry. The brooding master of Blackcrest, Hawke lives with his elderly aunt, her menagerie of cats, and her rebellious teenage ward. Certain that Hawke is lying, and determined to find out what happened to her cousin, Deborah accepts his aunt’s offer of employment to transcribe her memoirs. As Deborah follows a twisting trail of clues, she struggles to resist falling under Hawke’s seductive spell—as her cousin did before her—and veers into the trap of a deranged killer who is preparing her to play a final part.
She was the toast of London -- a breathtaking vision every woman envied and every man longed to possess. Few would have dreamed this violet-eyed beauty was the precocious child of a country schoolmaster ... the feisty girl who had spurned the "fairy tale prince" to surrender her innocence to his illegitimate brother ... the young woman who had come to London with nothing but a broken heart -- and a fierce determination to survive. Now she was a celebrated actress; immortalized on canvas by Gainsborough; adored by the playwright who made her his star; desired by the golden-haired lord obsessed with making her his lady ... and still tormented with longing for the man who had branded her very soul with his passion, and who has now returned to reawaken past splendors of a love he means to reclaim ...
Whether or not you believe in fate, or luck, or love at first sight, every romance has to start somewhere. Meet Cute is an anthology of original short stories featuring tales of “how they first met” from some of today’s most popular YA authors. Readers will experience Nina LaCour’s beautifully written piece about two Bay Area girls meeting via a cranky customer service Tweet, Sara Shepard’s glossy tale about a magazine intern and a young rock star, Nicola Yoon’s imaginative take on break-ups and make-ups, Katie Cotugno’s story of two teens hiding out from the police at a house party, and Huntley Fitzpatrick’s charming love story that begins over iced teas at a diner. There’s futuristic flirting from Kass Morgan and Katharine McGee, a riveting transgender heroine from Meredith Russo, a subway missed connection moment from Jocelyn Davies, and a girl determined to get out of her small town from Ibi Zoboi. Jennifer Armentrout writes a sweet story about finding love from a missing library book, Emery Lord has a heartwarming and funny tale of two girls stuck in an airport, Dhonielle Clayton takes a thoughtful, speculate approach to pre-destined love, and Julie Murphy dreams up a fun twist on reality dating show contestants. This incredibly talented group of authors brings us a collection of stories that are at turns romantic and witty, epic and everyday, heartbreaking and real.
Fighting for her survival in the jungles of India, a woman is rescued by a stranger who isn’t what he seems in Jennifer Wilde’s breathtaking, exotic romance After graduating from the Hampton Academy for Select Young Ladies, Lauren Gray is finally ready to return to the land of her birth. But nineteenth-century India is a dangerous place for an unchaperoned English woman. En route from Delhi, her caravan is besieged by hostile natives, and Lauren barely escapes with her life. Lost in the jungle, she is rescued by a mysterious man on a stallion, who sweeps her away to her destination, Dahlkari—then vanishes. Here, in a remote military outpost, Lauren suddenly finds herself in thrall to three men: blond, irresistible Lieutenant Michael Stephens, powerful, seductive Rajah Sahji Bandi, and Robert Gordon, a dashing brigand on a clandestine mission for the British government. One of them wants her dead, and one will kill to keep her safe—for Lauren is the last living witness to the bloody caravan massacre.
Between 1880 and 1940, English responses to French poetry evolved from marginalised expressions of admiration associated with rebellion against the ""establishment"" to mainstream mutual exchange and appreciation. The translation of poetry underwent a simultaneous evolution, from attempts to produce definitive renderings to definitions of translation as an ongoing, generative process at the centre of literary debate. This study traces the impact of French poetry in England, via a wide range of translations by major poets of the time as well as renderings by now forgotten writers. It explores poetry and translations beyond the limits of the usual canon and identifies key moments of influence, from late 19th-century English homages to Victor Hugo as a liberal icon, to Ezra Pound re-interpreting Charles Baudelaire for the 20th century.
Based on the premise that difficult material, with adequate support, provides the most enriching experience in the composition classroom, this book offers its readers a challenge and encourages them to think and write critically. KEY TOPICS Unique content features fresh material that is mostly new and has not been anthologized before. For writing inspiration, and anyone who wants to participate in broader cultural conversations about the selections presented here.
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