In analyzing the nonfiction works of writers such as John Wilson, J. S. Mill, De Quincy, Ruskin, Arnold, Pater, and Wilde, Jason Camlot provides an important context for the nineteenth-century critic's changing ideas about style, rhetoric, and technologies of communication. In particular, Camlot contributes to our understanding of how new print media affected the Romantic and Victorian critic's sense of self, as he elaborates the ways nineteenth-century critics used their own essays on rhetoric and stylistics to speculate about the changing conditions for the production and reception of ideas and the formulation of authorial character. Camlot argues that the early 1830s mark the moment when a previously coherent tradition of pragmatic rhetoric was fragmented and redistributed into the diverse, localized sites of an emerging periodicals market. Publishing venues for writers multiplied at midcentury, establishing a new stylistic norm for criticism-one that affirmed style as the manifestation of English discipline and objectivity. The figure of the professional critic soon subsumed the authority of the polyglot intellectual, and the later decades of the nineteenth century brought about a debate on aesthetics and criticism that set ideals of Saxon-rooted 'virile' style against more culturally inclusive theories of expression.
This volume is the first attempt to assess the impact of both humanism and Protestantism on the education offered to a wide range of adolescents in the hundreds of grammar schools operating in England between the Reformation and the Enlightenment. By placing that education in the context of Lutheran, Calvinist and Jesuit education abroad, it offers an overview of the uses to which Latin and Greek were put in English schools, and identifies the strategies devised by clergy and laity in England for coping with the tensions between classical studies and Protestant doctrine. It also offers a reassessment of the role of the 'godly' in English education, and demonstrates the many ways in which a classical education came to be combined with close support for the English Crown and established church. One of the major sources used is the school textbooks which were incorporated into the 'English Stock' set up by leading members of the Stationers' Company of London and reproduced in hundreds of thousands of copies during the seventeenth and eighteenth centuries. Although the core of classical education remained essentially the same for two centuries, there was a growing gulf between the methods by which classics were taught in elite institutions such as Winchester and Westminster and in the many town and country grammar schools in which translations or bilingual versions of many classical texts were given to weaker students. The success of these new translations probably encouraged editors and publishers to offer those adults who had received little or no classical education new versions of works by Aesop, Cicero, Ovid, Virgil, Seneca and Caesar. This fascination with ancient Greece and Rome left its mark not only on the lifestyle and literary tastes of the educated elite, but also reinforced the strongly moralistic outlook of many of the English laity who equated virtue and good works with pleasing God and meriting salvation.
Offering readings of nineteenth-century travel narratives, works by Tractarians, the early writings of Charles Kingsley, and the poetry of Alfred Tennyson, Devon Fisher examines representations of Roman Catholic saints in Victorian literature to assess both the relationship between conservative thought and liberalism and the emergence of secular culture during the period. The run-up to Victoria's coronation witnessed a series of controversial liberal reforms. While many early Victorians considered the repeal of the Test and Corporation Acts (1828), the granting of civil rights to Roman Catholics (1829), and the extension of the franchise (1832) significant advances, for others these three acts signaled a shift in English culture by which authority in matters spiritual and political was increasingly ceded to individuals. Victorians from a variety of religious perspectives appropriated the lives of Roman Catholic saints to create narratives of English identity that resisted the recent cultural shift towards private judgment. Paradoxically, conservative Victorians' handling of the saints and the saints' lives in their sheer variety represented an assertion of individual authority that ultimately led to a synthesis of liberalism and conservatism and was a key feature of an emergent secular state characterized not by disbelief but by a range of possible beliefs.
Astronomy and Astrophysics Abstracts, which has appeared in semi-annual volumes since 1969, is de voted to the recording, summarizing and indexing of astronomical publications throughout the world. It is prepared under the auspices of the International Astronomical Union (according to a resolution adopted at the 14th General Assembly in 1970). Astronomy and Astrophysics Abstracts aims to present a comprehensive documentation of literature in all fields of astronomy and astrophysics. Every effort will be made to ensure that the average time interval between the date of receipt of the original literature and publication of the abstracts will not exceed eight months: This time interval is near to that achieved by monthly abstracting journals, com pared to which our system of accumulating abstracts for about six months offers the advantage of greater convenience for the user. I, 1980; some older Volume 27 contains literature published in 1980 and received before August literature which was received late and which is not recorded in earlier volumes is also included. We acknowledge with thanks contributions to this volume by Dr. J. Bouska, Prague, who surveyed journals and publications in Czech and supplied us with abstracts in English.
Challenging literary histories that locate the emergence of fantastic literature in the Romantic period, David Sandner shows that tales of wonder and imagination were extremely popular throughout the eighteenth century. Sandner engages contemporary critical definitions and defenses of eighteenth- and early nineteenth-century fantastic literature, demonstrating that a century of debate and experimentation preceded the Romantic's interest in the creative imagination. In 'The Fairy Way of Writing,' Joseph Addison first defines the literary use of the supernatural in a 'modern' and 'rational' age. Other writers like Richard Hurd, James Beattie, Samuel Johnson, James Percy, and Walter Scott influence the shape of the fantastic by defining and describing the modern fantastic in relation to a fabulous and primitive past. As the genre of the 'purely imaginary,' Sandner argues, the fantastic functions as a discourse of the sublime imagination, albeit a contested discourse that threatens to disrupt any attempt to ground the sublime in the realistic or sympathetic imagination. His readings of works by authors such as Ann Radcliffe, William Beckford, Horace Walpole, Mary Shelley, Walter Scott, and James Hogg not only redefine the antecedents of the fantastic but also offer a convincing account of how and why the fantastic came to be marginalized in the wake of the Enlightenment.
If science has the equivalent of a Bloomsbury group, it is the five men born at the turn of the twentieth century in Budapest: Theodore von Karman, Leo Szilard, Eugene Wigner, John von Neumann, and Edward Teller. From Hungary to Germany to the United States, they remained friends and continued to work together and influence each other throughout their lives. As a result, their work was integral to some of the most important scientific and political developments of the twentieth century. They were an extraordinary group of talents: Wigner won a Nobel Prize in theoretical physics; Szilard was the first to see that a chain reaction based on neutrons was possible, initiated the Manhattan Project, but left physics to try to restrict nuclear arms; von Neumann could solve difficult problems in his head and developed the modern computer for more complex problems; von Karman became the first director of NASA's Jet Propulsion Laboratory, providing the scientific basis for the U.S. Air Force; and Teller was the father of the hydrogen bomb, whose name is now synonymous with the controversial "Star Wars" initiative of the 1980s. Each was fiercely opinionated, politically active, and fought against all forms of totalitarianism. Istvan Hargittai, as a young Hungarian physical chemist, was able to get to know some of these great men in their later years, and the depth of information and human interest in The Martians of Science is the result of his personal relationships with the subjects, their families, and their contemporaries.
Uses the history of Trieste and the Italo-Yugoslav border to examine how representations of difference have affected the politics of sovereignty during the twentieth century.
Revolution and the Word offers a unique perspective on the origins of American fiction, looking not only at the early novels themselves but at the people who produced them, sold them, and read them. It shows how, in the aftermath of the American Revolution, the novel found a special place among the least privileged citizens of the new republic. As Cathy N. Davidson explains, early American novels--most of them now long forgotten--were a primary means by which those who bought and read them, especially women and the lower classes, moved into the higher levels of literacy required by a democracy. This very fact, Davidson shows, also made these people less amenable to the control of the gentry who, naturally enough, derided fiction as a potentially subversive genre. Combining rigorous historical methods with the newest insights of literacy theory, Davidson brilliantly reconstructs the complex interplay of politics, ideology, economics, and other social forces that governed the way novels were written, published, distributed, and understood. Davidson also shows, in almost tactile detail, how many Americans lived during the Constitutional era. She depicts the life of the traveling book peddler, the harsh lot of the printer, the shortcomings of early American schools, the ambiguous politics of novelists like Brackenridge and Tyler, and the lost lives of ordinary women like Tabitha Tenney and Patty Rogers. Drawing on a vast body of material--the novels themselves as well as reviews, inscriptions in cherished books, letters and diaries, and many other records--Davidson presents the genesis of American literature in its fullest possible context.
Machiavelli in the British Isles reassesses the impact of Machiavelli's The Prince in sixteenth-century England and Scotland through the analysis of early English translations produced before 1640, surviving in manuscript form. This study concentrates on two of the four extant sixteenth-century versions: William Fowler's Scottish translation and the Queen's College (Oxford) English translation, which has been hitherto overlooked by scholars. Alessandra Petrina begins with an overview of the circulation and readership of Machiavelli in early modern Britain before focusing on the eight surviving manuscripts. She reconstructs each manuscript's history and the afterlife of the translations before moving to a detailed examination of two of the translations. Petrina's investigation of William Fowler's translation takes into account his biography, in order to understand the Machiavellian influence on early modern political thought. Her study of the Queen's College translation analyses the manuscript's provenance as well as technical details including writing and paper quality. Importantly, this book includes annotated editions of both translations, which compare the texts with the original Italian versions as well as French and Latin versions. With this volume Petrina has compiled an important reference source, offering easy access to little-known translations and shedding light on a community of readers and scholars who were fascinated by Machiavelli, despite political or religious opinion.
Examines the life and writings of James Joyce, including a biographical sketch, detailed synopses of his works, social and historical influences, and more.
This innovative exploration of the literature, history, and culture of the Apennines links a twenty-first century journey along the walking trail of the 'Great Apennine Excursion' to accounts and discussions of past travellers--including pilgrims, merchants, tourists, soldiers, partisans, and poets--from the Medieval period up to World War Two.
In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.
Carmen in Diaspora is a cultural history of Carmen adaptations set in African diasporic contexts. Beginning with Prosper Mérimée's novella and Georges Bizet's opera and continuing through twentieth- and twentieth-first century interpretations in literature, film, and musical theatre, the book explores how opera's most famous character has exceeded the 19th-century French context in which she was created and taken on a life of her own. Through this transformation, the Carmen figure has sparked important conversations not only about French culture and canonical opera but also about Black womanhood, community, and self-determination.
At the end of the 16th century, scholars and intellectuals were seen as Faustian magicians, dangerous and sexy. By the 19th century, they were perceived as dusty and dried up, dead from the waist down, as Browning so wickedly put it. In this study, a literary critic explores the various ways we have thought about scholars and scholarship through the ages. classical scholar Isaac Casaubon who lived from 1559 to 1614; Mark Pattison, 19th-century rector at Oxford; and Mr Casaubon in George Eliot's Middlemarch. The three are intricately related, for Pattison was seen by many as the model for Eliot's Mr Casaubon and he was also the author of the best book on Isaac Casaubon. Nuttall offers a penetrating interpretation of Middlemarch and then describes how Pattison recorded his own introverted intellectual life and self-lacerating depression. He presents Isaac Casaubon, on the other hand, as a fulfilled scholar who personifies the ideal of detailed, unspectacular truth-telling, often imperilled in our own culture. Nuttall concludes with a meditation on morality, sexuality and the true virtues of scholarship.
This very short introduction sets out the origins and development of an English-language debate centered around the phrase "rule of law." It aims is to explore the distinctive ethical contribution offered by various thinkers to this specific phrase, first theorized by the English scholar A.V. Dicey, while largely setting aside how the same questions are framed and resolved in other traditions. The book opens by canvassing the classical and early modern sources upon which Dicey and his successors explicitly drew. It then explores the idea of Dicey, who it flags as the first self-conscious theorist of the rule of law. It then recounts his immediate successors. These include a heterogenous range of thinkers, such as Friedrich Hayek, Lon Fuller, Ronald Dworkin, and Tom Bingham. With this genealogy in hand, the book then reflects the important question of why the rule of law (in some version or other) persists-that is, why do actors with the power to cast aside the rule of law not do so? The book next turns to the ways in which the term "rule of law" has diffused across borders, making it a geopolitical phenomenon. Specifically, the phrase was taken toward the end of the twentieth century across borders by actors as diverse as the World Bank, Singapore, and the Chinese Communist Party. Finally, the book closes by examining the way that the rule-of-law tradition can be challenged both as a matter of theory and practice"--
With this first volume of a two-part biography of the Transcendentalist critic and feminist leader, Margaret Fuller, Capper has launched the premier modern biography of early America's best-known intellectual woman. Based on a thorough examination of all the first-hand sources, many of them never before used, this volume is filled with original portraits of Fuller's numerous friends and colleagues and the influential movements that enveloped them. Writing with a strong narrative sweep, Capper focuses on the central problem of Fuller's life--her identity as a female intellectual--and presents the first biography of Fuller to do full justice to its engrossing subject. This first volume chronicles Fuller's "private years": her gradual, tangled, but fascinating emergence out of the "private" life of family, study, Boston-Cambridge socializing, and anonymous magazine-writing, to the beginnings of her rebirth as antebellum America's female prophet-critic. Capper's biography is at once an evocative portrayal of an extraordinary woman and a comprehensive study of an avant-garde American intellectual type at the beginning of its first creation.
‘Fallen Among Reformers’ focuses on Stella Miles Franklin’s New Woman protest literature written during her time in Chicago with the National Women’s Trade Union League (1906-1915). This time away from literary pursuits enriched Franklin’s literary productivity and provided a feminist social justice ethics, which shaped her writing. Close readings of Franklin’s (mostly unpublished) short stories, plays, and novels contextualises them in the personal politics of her everyday life and historicises them in the socio-economic and literary realities of early twentieth-century Australia and United States: themes embedded in broader cultural patterns of socialism, pacifism, and feminism.
This book examines how businesses manage their labour systems, and particularly how they manage the complex interaction of factors which give rise to instances of 'partnership' style relations between businesses and their employees. The book draws from the literature concerning 'Varieties of Capitalism' (VoC) and the different institutional and regulatory designs inherent in different types of political economy. The book is informed by a new and extensive set of empirical data from Australia that examines the activities of national and multinational business corporations, their outlooks and relationships with stakeholders, and relates these to new and evolving theoretical frameworks based in political economy and law. The book places the Australian regulatory model within this international debate, and assesses the extent to which the system does or does not fit into the general categorisation created in the VoC literature.
From the Pharaohs to Fanon, Dictionary of African Biography provides a comprehensive overview of the lives of the men and women who shaped Africa's history. Unprecedented in scale, DAB covers the whole continent from Tunisia to South Africa, from Sierra Leone to Somalia. It also encompasses the full scope of history from Queen Hatsheput of Egypt (1490-1468 BC) and Hannibal, the military commander and strategist of Carthage (243-183 BC), to Kwame Nkrumah of Ghana (1909-1972), Miriam Makeba and Nelson Mandela of South Africa (1918 -).
In this extraordinary and ambitious book, Peter Lake examines how different sections of sixteenth- and early seventeenth-century England - protestant, puritan and catholic, the press and the popular stage - sought to enlist these pamphlets to their own ideological and commercial purposes.".
Proposing a new approach to Jamesian aesthetics, Daniel Hannah examines the complicated relationship between Henry James's impressionism and his handling of 'the public.' Hannah challenges solely phenomenological or pictorial accounts of literary impressionism, instead foregrounding James's treatment of the word 'impression' as a mediatory unit that both resists and accommodates invasive publicity. Thus even as he envisages a breakdown between public and private at the end of the nineteenth century, James registers that breakdown not only as a threat but also as an opportunity for aesthetic gain. Beginning with a reading of 'The Art of Fiction' as both a public-forming essay and an aesthetic manifesto, Hannah's study examines James's responses to painterly impressionism and to aestheticism, and offers original readings of What Maisie Knew, The Wings of the Dove, and The American Scene that treat James's articulation of impressionism in relation to the child, the future of the novel, and shifts in the American national imaginary. Hannah's study persuasively argues that throughout his career James returns to impressionability not only as a site of immense vulnerability in an age of rapid change but also as a crucible for reshaping, challenging, and adapting to the public sphere’s shifting forms.
Explores the way chaos theory is incorporated in the work of such writers as Toni Morrison, Thomas Pynchon, John Barth, Don DeLillo, and Michael Crichton.
Caribbean Women Writers and Globalization offers a fresh reading of contemporary literature by Caribbean women in the context of global and local economic forces, providing a valuable corrective to much Caribbean feminist literary criticism. Departing from the trend towards thematic diasporic studies, Helen Scott considers each text in light of its national historical and cultural origins while also acknowledging regional and international patterns. Though the work of Caribbean women writers is apparently less political than the male-dominated literature of national liberation, Scott argues that these women nonetheless express the sociopolitical realities of the postindependent Caribbean, providing insight into the dynamics of imperialism that survive the demise of formal colonialism. In addition, she identifies the specific aesthetic qualities that reach beyond the confines of geography and history in the work of such writers as Oonya Kempadoo, Jamaica Kincaid, Edwidge Danticat, Pauline Melville, and Janice Shinebourne. Throughout, Scott's persuasive and accessible study sustains the dialectical principle that art is inseparable from social forces and yet always strains against the limits they impose. Her book will be an indispensable resource for literature and women's studies scholars, as well as for those interested in postcolonial, cultural, and globalization studies.
This is the story of the orchestra, from 16th-century string bands to the "classical" orchestra of Haydn, Mozart, and Beethoven. Spitzer and Zaslaw document orchestral organization, instrumentation, social roles, repertories, and performance practices in Europe and the American colonies, concluding around 1800 with the widespread awareness of the orchestra as a central institution in European life.
Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. Conceived separately but narratively and thematically intertwined, the ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life,'" which for Milder means primarily his spiritual, psychological, and vocational life. Four of the ten essays deal with Melville's life and work after his novelistic career ended with the The Confidence-Man in 1857. The range of issues addressed in the essays includes Melville's attitudes toward society, history, and politics, from broad ideas about democracy and the course of Western civilization to responses to particular events like the Astor Place Riots and the Civil War; his feeling about sexuality and, throughout the book, about religion; his relationship to past and present writers, especially to the phases of Euro-American Romanticism, post-Romanticism, and nascent Modernism; his relationship to his wife, Lizzie, to Hawthorne, and to his father, all of whom figured in the crisis that made for Pierre. The title essay, "Exiled Royalties," takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab"--Melville's mythic projection of a "larger, darker, deeper part" of himself. How to live nobly in spiritual exile--to be godlike in the perceptible absence of God--was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. The ways in which this impulse expressed itself through Melville's forty-five year career, interweaving itself with his personal life and the life of the nation and shaping both the matter and manner of his work, is the unifying subject of Exiled Royalties.
By the end of the nineteenth century, Paris was widely acknowledged as the cultural capital of the world, the home of avant-garde music and art, symbolist literature and bohemian culture. Edinburgh, by contrast, may still be thought of as a rather staid city of lawyers and Presbyterian ministers, academics and doctors. While its great days as a centre for the European Enlightenment may have been behind it, however, late Victorian Edinburgh was becoming the location for a new set of cultural institutions, with its own avant-garde, that corresponded with a renewed Scottish national consciousness. While Morningside was never going to be Montparnasse, the period known as the Belle Epoque was a time in both French and Scottish society when there were stirrings of non-conformity, which often clashed with a still powerful establishment. And in this respect, French bourgeois society could be as resistant to change as the suburbs of Edinburgh. With travel and communication becoming ever easier, a growing number of international contacts developed that allowed such new and radical cultural ideas to flourish. In a series of linked essays, based on research into contemporary archives, documents and publications in both countries, as well as on new developments in cultural research, this book explores an unexpected dimension of Scottish history, while also revealing the Scottish contribution to French history. In a broader sense, and particularly as regards gender, it considers what is meant by 'modern' or 'radical' in this period, without imposing any single model. In so doing, it seeks not to treat Paris-Edinburgh links in isolation, or to exaggerate them, but to use them to provide a fresh perspective on the internationalism of the Belle Epoque.
Angel Barahone, a Sandinista, knows all Bo Thornton's strategies of battle and all his tricks of the trade. Thornton trained him. Now, Angel has traded sides, and Thornton is the only man with a chance of taking him out--in a battle against an enemy as deadly as he is.
In The Wild Irish Girl, the powerful Irish heroine's marriage to a heroic Englishman symbolizes the Anglo-Irish novelist Lady Morgan's re-imagining of the relationship between Ireland and Britain and between men and women. Using this most influential of pro-union novels as his point of departure, Thomas J. Tracy argues that nineteenth-century debates over what constitutes British national identity often revolved around representations of Irishness, especially Irish womanhood. He maps out the genealogy of this development, from Edgeworth's Castle Rackrent through Trollope's Irish novels, focusing on the pivotal period from 1806 through the 1870s. Tracy's model enables him to elaborate the ways in which gender ideals are specifically contested in fiction, the discourses of political debate and social reform, and the popular press, for the purpose of defining not only the place of the Irish in the union with Great Britain, but the nature of Britishness itself.
Caesarian power was a crucial context in the Renaissance, as rulers in Europe, Russia and Turkey all sought to appropriate Caesarian imagery and authority, but it has been surprisingly little explored in scholarship. In this study Lisa Hopkins explores the way in which the stories of the Caesars, and of the Julio-Claudians in particular, can be used to figure the stories of English rulers on the Renaissance stage. Analyzing plays by Shakespeare and a number of other playwrights of the period, she demonstrates how early modern English dramatists, using Roman modes of literary representation as cover, commented on the issues of the day and critiqued contemporary monarchs.
The islands of Britain have been a crossroads of gods, heroes, and kings-those of flesh as well as those of myth-for thousands of years. Successive waves of invasion brought distinctive legends, rites, and beliefs. The ancient Celts displaced earlier indigenous peoples, only to find themselves displaced in turn by the Romans, who then abandoned the islands to Germanic tribes, a people themselves nearly overcome in time by an influx of Scandinavians. With each wave of invaders came a battle for the mythic mind of the Isles as the newcomer's belief system met with the existing systems of gods, legends, and myths. In Gods, Heroes, and Kings, medievalist Christopher Fee and veteran myth scholar David Leeming unearth the layers of the British Isles' unique folkloric tradition to discover how this body of seemingly disparate tales developed. The authors find a virtual battlefield of myths in which pagan and Judeo-Christian beliefs fought for dominance, and classical, Anglo-Saxon, Germanic, and Celtic narrative threads became tangled together. The resulting body of legends became a strange but coherent hybrid, so that by the time Chaucer wrote "The Wife of Bath's Tale" in the fourteenth century, a Christian theme of redemption fought for prominence with a tripartite Celtic goddess and the Arthurian legends of Sir Gawain-itself a hybrid mythology. Without a guide, the corpus of British mythology can seem impenetrable. Taking advantage of the latest research, Fee and Leeming employ a unique comparative approach to map the origins and development of one of the richest folkloric traditions. Copiously illustrated with excerpts in translation from the original sources, Gods, Heroes, and Kings provides a fascinating and accessible new perspective on the history of British mythology.
Important aspects of the history of language in the United States remain shrouded in myth and legend. The notion of "one nation, one language" is part of the idealized history of the United States, although in its short history it has probably been host to more bilingual people than any other country in the world. Language is more than a means of communication. It brings into play an entire range of experiences and attitudes toward life. Furthermore, language is a potent symbolic issue because it links power and political claims of ownership with psychological demands for group worth. How people belonging to different language and cultural communities live together in the same political community and how political and structural tensions arise to divide them along language lines, are questions addressed in The Politics of Language. This book analyzes the historical background and recent controversy over language in the United States and compares it to two official multilingual societies: Canada and Switzerland. It's accessibility as a survey of this topic makes it ideal for courses in linguistics, political science, and sociology.
For over two centuries, America has celebrated the very black culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.
Drawing on the generic and mythic strength of comedy and the theories of Bakhtin, Bergson, and Hobbes, this book identifies the radical nature of early modern English comedy. The satirical comedic actions that shape the "Shepherds' Play," Thomas Dekker's pamphlets, and the comic dramas of Marston, Middleton, and Jonson are all driven, Bowers points out, by an ability to criticize authority, assert plebeian culture, and insist on the complexity and innovation of human discourse. The texts examined (including The Jew of Malta, Metamorphosis of Ajax, Antonio and Mellida, Bartholomew Fair, The Alchemist, and A Chaste Maid in Cheapside) simultaneously create and employ standard comedic elements. Farce, absurdity, excess, over-the-top characters, unremitting irony, black humor, toilet humor, and tricksters of all types - such features and more combine to satirize medical, religious, and political authority and to implement necessary social change. Written with a narrative ease, Radical Comedy in Early Modern England shows how comic interventions both describe and reconfigure prevalent authority in its own time while arguing that, through early modern comedy, one can observe the changes in social behavior and understandings characteristic of the Renaissance.
Erich Maria Remarque’s All Quiet on the Western Front remains the archetypal example of an anti-war novel, and one that has become synonymous with the Great War. Yet the tremendous and enduring popularity of Remarque’s work has to some extent eclipsed a plethora of other German anti-war writers. In order to provide a more rounded view, this volume offers a selection of essays published by Brian Murdoch over the past twenty years. A new introduction provides the context for the volume and survey recent developments in the subject, the essays that follow range broadly over the German anti-war literary tradition, telling us much about the shifting and contested nature of the war.
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