Open to the Spirit—one word, four voices—came out of our direct experience as friends doing interfaith work in the community. Meeting and working together at shared social or social justice events, we already enjoyed promoting one another’s projects and good work. When a weekly religion column ended in our local paper, we seized the opportunity and agreed to form a writing team to fill the space with a message that was inclusive and welcoming.
William Wordsworth's poems are inhabited by beggars, vagrants, peddlers, and paupers. This book analyzes how a few key poems from Wordsworth's early years constitute a direct engagement with and intervention into the politics of poverty and reform that swept the social, political, and cultural landscape in England during the 1790s. In Wordsworth's Vagrant Muse, Gary Harrison argues that although Wordsworth's poetry is implicated in an ideology that idealizes rustic poverty, it nonetheless invests the image of the rural poor with a certain, if ambiguously realized, power. The early poems challenge the complacency of middle-class readers by constructing a mirror in which they confront the possibility of their own impoverishment (both economic and moral), and by investing the marginal poor with a sense of dignity and morality otherwise denied them.
Gothic Terrors brings together two discursive fields that have had very little contact hitherto: Gothic Studies and Hispanism. Though widely accepted in English studies, Hispanists seldom invoke the concept of a Gothic mode existing beyond its first appearance in the eighteenth century. Highlighting Gothic elements in mainstream Spanish fiction from the nineteenth century until the present day, Lee Six challenges the view that Spanish writers rejected what the Gothic had to offer. Through close study of texts by Benito Pérez Galdós, Emilia Pardo Bazán, Miguel de Unamuno, Camilo José Cela, Adelaida García Morales, Espido Freire, and Javier García Sánchez, Lee Six traces the evolution of three staples of the Gothic: the heroine imprisoned on grounds of madness, the doubled or split character, and the use of violent, gory description. Persuasively argued and well researched, Gothic Terrors reflects on the Gothic presence in Spanish mainstream literature and identifies two important ways in which it crosses cultural divides: the traditional gulf between high and low culture within Spain, and the engagement of Spanish creative writers with transnational literary trends. Gothic Terrors will thus appeal to Gothic scholars who are interested in the Spanish dimension of their field, as well as to Hispanists who may have been unaware of how relevant and useful Gothic studies could be for them."--Publisher's website.
By highlighting features common to the Gothic classics and the works of Adelaida García Morales, this monograph aims to put the Gothic on the map in Hispanic Studies. The Gothic as a literary mode extending well beyond its first proponents in eighteenth-century England is well established in English studies but has been strangely under-used by Hispanists. Now Abigail Lee Six uses it as the paradigm through which to analyse the novels of Adelaida García Morales; while not suggesting that every novel by this author is a classic Gothic text, she reveals certain constants in the work that can be related to the Gothic, evenin novels which one might not classify as such. Each of the novels studied is paired with an English-language Gothic text, such as Dracula, Frankenstein and Dr Jekyll and Mr Hyde, and then read in the lightof it. The focus of each chapter ranges from psychological aspects, such as fear of decay or otherness, or the pressures linked to managing secrets, to more concrete elements such as mountains and frightening buildings, and to keyfigures such as vampires, ghosts, or monsters. This approach sheds new light on how García Morales achieves probably the most distinguishing feature of her novels: their harrowing atmosphere. ABIGAIL LEE SIX is Professor of Hispanic Studies at Royal Holloway, University of London.
When nineteen-year-old Matthew Lewis crafted The Monk in 1796, he had no idea what hideous progeny he had created. The text plagued Lewis throughout his life to the point where he earned the nickname "Monk" Lewis, symbolic of criticism he and the text received equating Lewis directly with the ideas in his infamous gothic novel. The Monk rose to the pinnacle of popularity in an England consumed by its love for Gothic romances and enswathed in the language of political, social, and religious turmoil. In addition, Lewis's novel has endured centuries of criticism to become part of the twenty-first century's love affair with the Gothic. Elements in Lewis's novel have spoken to humankind across the ages, primarily through his principle character, the fallen monk, Ambrosio. Why do The Monk and Ambrosio enwrap imaginations in the dichotomy between appeal and repulsion? What does Ambrosio experience in his mental and physical Lifeworlds as he catapults himself into damnation in the text, and what can humankind appropriate from his fall? This book takes a new approach to literary studies of The Monk by turning hermeneutic phenomenology in a new direction - into the minds of the characters themselves. The reader enters the mind of Ambrosio and experience the world and the symbols surrounding him, including his intersubjective constitution with other characters, as he experiences them. While applying phenomenology to a fictive text is not new, focusing hermeneutic phenomenology exclusively on the consciousness of the characters in a literary text is. The author takes this bold step thoughtfully and analytically, explaining step by step how Ambrosio takes himself down a path to damnation in his own consciousness before Satan ever throws him off of a mountain, in effect explaining how salvation for Ambrosio is impossible by the end of the novel. While previous approaches have analyzed the reader's experience through the lens of phenomenology, this work examines a character's experience through the lens of hermeneutic-phenomenology, analyzing symbols present in the monk's consciousness and how they affect his mental path to damnation, as opposed to analyzing the reader's experience through that same lens. By moving a layer deeper than traditional approaches, this work opens new realms of possibility in literary criticism.
Open to the Spirit—one word, four voices—came out of our direct experience as friends doing interfaith work in the community. Meeting and working together at shared social or social justice events, we already enjoyed promoting one another’s projects and good work. When a weekly religion column ended in our local paper, we seized the opportunity and agreed to form a writing team to fill the space with a message that was inclusive and welcoming.
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