This volume is a material and semiotic study of transnationalsim, analyzed in terms of race, class, gender, and sexuality. The objects of analysis range from the aftermath of the U.S.-led war in Iraq, to science fiction by Pat Cadigan, CJ Cherryh, and Samuel Delaney, to material-semiotic feminist theory by Donna Harraway, to the neo-Marxist historical geography of Mike Davis and David Harvey. The book is centrally concerned with the social and cultural change brought about by the rise of the new social movements in the United States, such as the women's movement and the lesbian, gay, queer, and transgendered movements, and the backlash by the American new right against this change. Ethical and political concerns are central to the arguments, which is framed in terms of Emmanuel Levinas's notion of radical, non-reciprocal responsibility. Laura Chernaik is a free-lance writer.
Beginning with the last years of the reign of Elizabeth I and ending late in the seventeenth century, this volume traces the growth of the literary marketplace, the development of poetic genres, and the participation of different writers in a century of poetic continuity, change, and transformation.
In the first full-length study of the figure of the female libertine in late seventeenth- and early eighteenth-century literature, Laura Linker examines heroines appearing in literature by John Dryden, Aphra Behn, Catharine Trotter, Delariviere Manley, and Daniel Defoe. Linker argues that this figure, partially inspired by Epicurean ideas found in Lucretius's De rerum natura, interrogates gender roles and assumptions and emerges as a source of considerable tension during the late Stuart and early Georgian periods. Witty and rebellious, the female libertine becomes a frequent satiric target because of her transgressive sexuality. As a result of negative portrayals of lady libertines, women writers begin to associate their libertine heroines with the pathos figures they read in French texts of sensibilité. Beginning with a discussion of Charles II's mistresses, Linker shows that these women continue to serve as models for the female libertine in literature long after their "reigns" at court ended. Her study places the female libertine within her cultural, philosophical, and literary contexts and suggests new ways of considering women's participation and the early novel, which prominently features female libertines as heroines of sensibility.
The Tenth Muse explores writings on the cinema in the first decades of the twentieth century. Laura Marcus examines the impact of cinema on early twentieth-century literary and, more broadly, aesthetic and cultural consciousness, by bringing together the study of the terms and strategies of early writings about film with literary engagement with cinema in the same period. She gives a new understanding of the ways in which early writers about film - reviewers, critics, theorists - developed aesthetic categories to define and accommodate what was called 'the seventh art' or 'the tenth muse' and found discursive strategies adequate to the representation of the new art and technology of cinema, with its unprecedented powers of movement. In examining the writings of early film critics and commentators in tandem with those of more specifically literary figures, including H.G.Wells and Virginia Woolf, and in bringing literary texts into this field, Laura Marcus provides a new account of relationships between cinema and literature. Intertwining two major strands of research - the exploration of early film criticism and theory and cinema's presence in literary texts - The Tenth Muse shows how issues central to an understanding of cinema (including questions of time, repetition, movement, vision, sound and silence) are threaded through both kinds of writing, and the ways in which discursive and fictional writings overlapped. The movement that defined cinema was also perceived as a more fragile and unstable ephemerality that inhered at every level, from the fleeting nature of the projected images to the vagaries of cinematic exhibition. It was the anxiety over the mutability of the medium and its exhibition which, from the 1920s onwards, led to the establishment of such institutional spaces for cinema as the London-based Film Society, the new film journals, and, in the 1930s, the first film archives. The Tenth Muse explores the continuities between these sites of cinematic culture and the conceptual, literary and philosophical understandings of the filmic medium.
Despite the growing critical relevance of Shakespeare's two Venetian plays and a burgeoning bibliography on both The Merchant of Venice and Othello, few books have dealt extensively with the relationship between Shakespeare and Venice. Setting out to offer new perspectives to a traditional topic, this timely collection fills a gap in the literature, addressing the new historical, political and economic questions that have been raised in the last few years. The essays in this volume consider Venice a real as well as symbolic landscape that needs to be explored in its multiple resonances, both in Shakespeare's historical context and in the later tradition of reconfiguring one of the most represented cities in Western culture. Shylock and Othello are there to remind us of the dark sides of the myth of Venice, and of the inescapable fact that the issues raised in the Venetian plays are tremendously topical; we are still haunted by these theatrical casualties of early modern multiculturalism.
In this pathbreaking work of scholarship, Laura Doyle reveals the central, formative role of race in the development of a transnational, English-language literature over three centuries. Identifying a recurring freedom plot organized around an Atlantic Ocean crossing, Doyle shows how this plot structures the texts of both African-Atlantic and Anglo-Atlantic writers and how it takes shape by way of submerged intertextual exchanges between the two traditions. For Anglo-Atlantic writers, Doyle locates the origins of this narrative in the seventeenth century. She argues that members of Parliament, religious refugees, and new Atlantic merchants together generated a racial rhetoric by which the English fashioned themselves as a “native,” “freedom-loving,” “Anglo-Saxon” people struggling against a tyrannical foreign king. Stories of a near ruinous yet triumphant Atlantic passage to freedom came to provide the narrative expression of this heroic Anglo-Saxon identity—in novels, memoirs, pamphlets, and national histories. At the same time, as Doyle traces through figures such as Friday in Robinson Crusoe, and through gothic and seduction narratives of ruin and captivity, these texts covertly register, distort, or appropriate the black Atlantic experience. African-Atlantic authors seize back the freedom plot, placing their agency at the origin of both their own and whites’ survival on the Atlantic. They also shrewdly expose the ways that their narratives have been “framed” by the Anglo-Atlantic tradition, even though their labor has provided the enabling condition for that tradition. Doyle brings together authors often separated by nation, race, and period, including Aphra Behn, Eliza Haywood, Olaudah Equiano, Nathaniel Hawthorne, Harriet Wilson, Pauline Hopkins, George Eliot, and Nella Larsen. In so doing, she reassesses the strategies of early women novelists, reinterprets the significance of rape and incest in the novel, and measures the power of race in the modern English-language imagination.
Laura Marcus is one of the leading literary critics of modernist literature and culture. Dreams of Modernity: Psychoanalysis, Literature, Cinema covers the period from around 1880 to 1930, when modernity as a form of social and cultural life fed into the beginnings of modernism as a cultural form. Railways, cinema, psychoanalysis and the literature of detection - and their impact on modern sensibility - are four of the chief subjects explored. Marcus also stresses the creativity of modernist women writers, including H. D., Dorothy Richardson and Virginia Woolf. The overriding themes of this work bear on the understanding of the early twentieth century as a transitional age, thus raising the question of how 'the moderns' understood the conditions of their own modernity.
This book teaches the basics of the structure of the English language with plentiful extracts from novels, poems and plays, so that literature students learn how to identify parts of speech and discuss their effects. No previous linguistics experience is assumed. Each chapter is divided into a definition of a specific linguistic feature; a demonstration of it in a literary text; a literary exercise where readers identify it themselves and assess its effect; and a brief summary of the teaching point. Interpretation is subjective and readers will learn how to build linguistic evidence to support their view. Essential knowledge for anyone who analyses English Literature.
Examining historical, clinical and artistic material, in both written and visual form, this book traces the figure of the contemporary hysteric as she rebels against the impossible demands made upon her. Exploring five traits that commonly characterise the hysteric as an archetype – a specific body, mimetic abilities, a shroud of mystery, a propensity to disappear and a particular relationship to voice – the authors shed light on what it means to be hysterical, as a form of rebellion and resistance. This is important reading for scholars of sociology, gender studies, cultural studies and visual studies with interests in psychoanalysis, art and the characterisation of mental illness.
Aphra Behn (1640–1689), prolific and popular playwright, poet, novelist, translator, has a fascinating and extensive corpus of literature that plays a key role in literary history. Quantitative Literary Analysis of the Works of Aphra Behn: Words of Passion offers what no book has done to date, an analysis of all Behn’s literary output. It examines the author’s use of words in terms of frequencies and distributions and stacks the words in context to read Behn’s word usage synchronically. Using this experimental method, the book brings digital humanities into literary criticism, to enhance our understanding and appreciation of literature beyond what is possible in diachronic reading and scholarship less supported by digital means. The empirical approach works in collaboration with existing scholarship to understand Behn’s distinct language of love and extreme passions across her genres.
This volume is a material and semiotic study of transnationalsim, analyzed in terms of race, class, gender, and sexuality. The objects of analysis range from the aftermath of the U.S.-led war in Iraq, to science fiction by Pat Cadigan, CJ Cherryh, and Samuel Delaney, to material-semiotic feminist theory by Donna Harraway, to the neo-Marxist historical geography of Mike Davis and David Harvey. The book is centrally concerned with the social and cultural change brought about by the rise of the new social movements in the United States, such as the women's movement and the lesbian, gay, queer, and transgendered movements, and the backlash by the American new right against this change. Ethical and political concerns are central to the arguments, which is framed in terms of Emmanuel Levinas's notion of radical, non-reciprocal responsibility. Laura Chernaik is a free-lance writer.
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