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Bienvenue dans la collection Les Fiches de lecture d'UniversalisPublié alors que George Berkeley (1685-1753), futur évêque de Cloyne, n'a que vingt-cinq ans, le Traité des principes de la connaissance humaine ne rencontra pas le succès que la postérité sut lui reconnaître.Une fiche de lecture spécialement conçue pour le numérique, pour tout savoir sur Traité des principes de la connaissance humaine de George BerkeleyChaque fiche de lecture présente une œuvre clé de la littérature ou de la pensée. Cette présentation est couplée avec un article de synthèse sur l'auteur de l'œuvre.A propos de l'Encyclopaedia Universalis : Reconnue mondialement pour la qualité et la fiabilité incomparable de ses publications, Encyclopaedia Universalis met la connaissance à la portée de tous. Écrite par plus de 7 200 auteurs spécialistes et riche de près de 30 000 médias (vidéos, photos, cartes, dessins…), l'Encyclopaedia Universalis est la plus fiable collection de référence disponible en français. Elle aborde tous les domaines du savoir.

Poetry FM is the first book to explore the dynamic relationship between post-1945 poetry and radio in the United States. Contrary to assumptions about the decline of literary radio production in the television age, the transformation of the broadcasting industry after World War II changed writers'engagement with radio in ways that impacted both the experimental development of FM radio and the oral, performative emphasis of postwar poetry. Lisa Hollenbach traces the history of Pacifica Radio—founded in 1946, the nation's first listener-supported public radio network—through the 1970s: from the radical pacifists and poets who founded Pacifica after the war; to the San Francisco Renaissance, Beat, and New York poets who helped define the countercultural sound of Pacifica stations KPFA and WBAI in the 1950s and 1960s; to the feminist poets and activists who seized Pacifica's frequencies in the 1970s. In the poems and recorded broadcasts of writers like Kenneth Rexroth, Jack Spicer, Allen Ginsberg, Amiri Baraka, Audre Lorde, Pat Parker, Bernadette Mayer, and Susan Howe, one finds a recurring ambivalence about the technics and poetics of reception. Through tropes of static noise, censorship, and inaudibility as well as voice, sound, and signal, these radiopoetic works suggest new ways of listening to the sounds and silences of Cold War American culture.

A Literary Biography of Robin Blaser: Mechanic of Splendor is the first major study illustrating Robin Blaser's significance to North American poetry. The poet Robin Blaser (1925–2009) was an important participant in the Berkeley Renaissance of the 1950s and San Francisco poetry circles of the 1960s. The book illuminates Blaser's distinctive responses to and relationships with familiar writers including Robert Duncan, Jack Spicer, and Charles Olson via their correspondence. Blaser contributed to the formation of the serial poem as a dominant mode in post-war New American poetry through his work and engagement with the poetry communities of the time. Offering a new perspective on a well-known and influential period in American poetry, Miriam Nichols combines the story of Blaser's life—coming from a mid-western conservative religious upbringing and his coming of age as a gay man in Berkeley, Boston, and San Francisco—with critical assessments of his major poems through unprecedented archival research. This literary biography presents Blaser's poetry and poetics in the many contexts from which it came, ranging from the Berkeley Renaissance to the Vancouver scene; from surrealism to phenomenology; from the New American poetry to the Canadian postmodern; from the homoerotic to high theory. Throughout, Blaser's voice is heard in the excitement of his early years in Berkeley and Boston and the seriousness of the later years where he was doing most of his living in his work.

Le Petit Chaperon rouge est un conte différent. Issu de la tradition orale, il se transforme en conte écrit d'abord réinventé par l'illustre Charles Perrault pour finir dans les mains des frères Grimm. Sa prose sera d'autant plus remarquable car, s'inscrivant dans un style du XVIIe siècle, la plume de Perrault oscille entre une histoire de contes et les complots de la cour. Le conte du Petit Chaperon rouge ne cessera d'évoluer pour dépasser à l'infini les époques et les lieux. Le petit chaperon rouge ou le conte de Charles Perrault est une analyse complète de ce texte atemporel.À PROPOS DE L'AUTRICELara Helou est Docteur ès Lettres de la Sorbonne. Sa thèse a été publiée par Les presses du Septentrion et est largement référencée par WorldCat aux universités de New York, de Princeton, d'Indiana, de Berkeley, de Stanford, de Californie et de Berlin. Par ailleurs, elle a écrit et produit 53 contes pour l'écran et des livres audiovisuels pour des compagnies aériennes internationales telles qu'Air France, Corsair, Air Austral et Air Calin.

This new series presents original scholarly and essayistic work addressing the central status of literature in and for the human sciences. At stake in the monographs and essay collections are paradigms of literary forms for thinking the human sciences: the knowledge involved in a literary work; how modes of reading and writing shape and depend on an epoch or area of thinking; literature's affinities and points of resistance to what we call the humanities and the sciences. In other words, the series examines how literature works with and upon philosophy, rhetoric, technology, anthropology, sociology, statistics, economics, history, experimental science, mathematics etc. Paradigms is primarily concerned with German letters, but also includes its European and comparative literary contexts.All volumes will be published in English and are first reviewed by the series editors followed by a peer review from two academics in the particular area of specialization. Two to four volumes are planned annually. EditorsRüdiger Campe (Yale University)Karen S. Feldman (University of California, Berkeley) Editorial BoardPaul Fleming (Cornell University) Eva Geulen (Zentrum für Literatur- und Kulturforschung, Berlin)Rüdiger Görner (Queen Mary, University of London)Barbara Hahn (Vanderbilt University)Daniel Heller-Roazen (Princeton University)Helmut Müller-Sievers (University of Colorado at Boulder)William Rasch (Indiana University, Bloomington)Joseph Vogl (Humboldt University, Berlin)Elisabeth Weber (University of California, Santa Barbara) Submission FormatThe series accepts monographs and edited volumes, if they systematically approach a specific topic and show a high level of coherence and focus.Please submit an abstract and table of contents with narrative description of each chapter (4–5 pages total, single-spaced) as well as a CV along with the complete manuscript.Only complete manuscripts can be evaluated. In exceptional cases, abstracts or outlines can be submitted to discuss the general fit of a book with the series'editors. Please understand that a final commitment for publication can only be reached on the basis of a complete manuscript.Manuscripts should have a minimum length of circa 200 pages (approximately 500,000 characters including spaces).Please submit your abstract, table of contents, and CV as one file; the complete manuscript as a second file to Dr. Myrto Aspioti: myrto.aspioti@degruyter.com.

Seamus Heaney's American Odyssey describes, with a new archive of correspondence, interviews, and working drafts, the some 40 years that Seamus Heaney spent in the United States as a teacher, lecturer, friend, and colleague, and as an active poet on the reading circuit. It is anchored by Heaney's appointments at Berkeley and Harvard, but it also follows Heaney's readings “on the road” at three important points in his career. It argues that Heaney was initially receptive to American poetry and culture while his career was still plastic, but as he developed more assurance and fame, he became much more critical of America as a superpower, especially in the military reaction to 9/11. This study emphasizes “the heard Heaney” as much as the “writerly Heaney” by listening in on key poetry readings at different times and to recorded but unpublished lectures on American and British poets at Harvard. It includes accounts by his creative writing students, aspiring poets, who testify to his mentoring as well as modeling for them how one can be “a poet in the world” as he was most strikingly.

This book examines the influence of American poetry on Seamus Heaney's achievement by close attention to the themes, style, and resonances of his poetry at different stages of his career, including his appointments in Berkeley and Harvard. Beginning with an examination of Heaney's education at Queen's University, this study presents comparative close readings which explore the influence of five American poets he read during this period: Robert Frost, John Crowe Ransom, Theodore Roethke, Robert Lowell, and Elizabeth Bishop. Laverty demonstrates how Heaney returned to several of these poets in response to difficulty and to consolidate later aesthetic developments. Heaney's ambivalent critical treatment of Sylvia Plath is investigated, as is his partial misreading of Bishop, who is understood today more sensitively than in her lifetime. This study also probes the reasons for his elision of other prominent American writers, making this the first comprehensive assessment of American influence on Heaney's poetry.

Music is commonly felt to offer a valued experience, yet to put that experience into words is no easy task. Rather than view verbal representations of music as somehow secondary to the music itself, Literary Music argues that it is in such representations that our understanding of music and its meanings is constituted and explored. Focusing on recent fictional and theoretical texts, Stephen Benson proposes literature, narrative fiction in particular, as a singular form of musical performance. Literary Music concentrates not only on song and opera, those forms in which words and music overtly confront one another, but also on a small number of recurring ideas around which the literary and the musical interact, including voice, narrative, performance, and silence. The book considers a wide range of literary and theoretical texts, including those of Blanchot and Bakhtin, Kazuo Ishiguro, Vikram Seth, David Malouf and J.M. Coetzee. The musical forms discussed range from opera to the string quartet, together with individual works by Elgar, Strauss and Michael Berkeley. As such, Literary Music offers an informed interdisciplinary approach to the study of literature and music that participates in the lively theoretical debate on the status of meaning in music.

First published on the occasion of John Montague's 80th birthday, this revised edition of Chosen Lights, in which more than thirty fellow poets select one of his poems and present an essay outlining its claims on their affection and admiration, endures as a unique perspective on a master's work and as a remarkable sampler of each stage of his career. Sara Berkeley | Ciaran Berry | Eavan Boland Rosita Boland | Ciaran Carson | Michael Coady Gerald Dawe | Peter Fallon | Tom French Alan Gillis | Eamon Grennan | Vona Groarke Dermot Healy | Seamus Heaney | Thomas Kinsella Michael Longley | Seán Lysaght | Derek Mahon John McAuliffe | Medbh McGuckian | Frank McGuinness | Paul Muldoon | Eiléan Ní Chuilleanáin | Conor O'Callaghan | Bernard O'Donoghue | Dennis O'Driscoll | Justin Quinn l Aidan Rooney Peter Sirr | Gerard Smyth | David Wheatley

Shortly before Vladimir Nabokov died in 1977, he left instructions that the draft for his last novel, The Original of Laura, be destroyed. But in 2008 Dmitri Nabokov, the writer's only child and sole surviving heir, contravened his father's wishes. Formed from novelistic fragments that had been hidden from the public eye for three decades, The Original of Laura is a construction based on the conjecture of the Nabokov estate, publishers, and scholars. Shades of Laura returns to the'scene of the crime,'elucidating the process of publishing Nabokov's unfinished novel from its conception - the reproduction of 138 handwritten index cards - to the simultaneous publication of translations of the final text in several languages. The essays in this collection investigate the event of publication and reconstitute the book's critical reception, reproducing a selection of some of the most salient reviews. Critics condemned Dmitri's choice, but as contributors to this volume attest, there are many more'shades'and'nuances'to his decision. The book also endeavours to allow readers to understand and evaluate an incomplete novel; contributors analyze its plot, structure, imagery, and motifs. Published after prolonged public debate, Vladimir Nabokov's The Original of Laura was dubbed'the most eagerly awaited literary novel of this fledgling century.'Covering the publication from a broad spectrum of perspectives, this collection reassesses the Nabokov canon and the roots of his literary prestige. Contributors include Paul Ardoin (Florida State University), Gennady Barabtarlo (University of Missouri), Brian Boyd (University of Auckland), Marijeta Bozovic (Colgate University), Maurice Couturier (University of Nice), Lara Delage-Toriel (Strasbourg University), Galya Diment (University of Washington), Leland de la Durantaye (Claremont McKenna College), Michael Juliar (Private collector), Eric Naiman (University of California, Berkeley), Ellen Pifer (University of Delaware), Anna Raffetto (Adelphi Publishing House, Milan), Michael Rodgers (University of Strathclyde), Rien Verhoef (Leiden University), Olga Voronina (Bard College), Tadashi Wakashima (Kyoto University), Michael Wood (Princeton University), and Barbara Wyllie (Slavonic and East European Review).

Alongside the puzzles contained in Nabokov's fiction, scholars have been unable to untangle the seemingly contradictory relationship between, on one hand, the fiction and the beliefs and principles suggested by Nabokov's biography and, on the other hand, the statements he made outside of his work. Through a close examination of Nabokov's father's political, moral, and aesthetic values and, more generally, Russian liberalism as it existed in the first few decades of the twentieth century, Dragunoiu provides persuasive answers to many long-standing questions in this deeply researched, innovative study. Showing the particular influence of the thought of Kant and Berkeley, she focuses on what she calls Nabokov's “most deceptively apolitical novels”: The Gift, Lolita, Pale Fire, and Ada. In bringing to them a more extensive context than previous Nabokov scholars, Dragunoiu argues that their treatment of various moral and political subjects can be more clearly understood in the light of ideas inherited by Nabokov from his father and his father's generation.

What is wisdom? Where does it come from? Where can we find it? And what does it mean in our lives? In Secrets of the Oracle, David Shaw explores these questions by turning to the works of wisdom writers, whose words retain their meaning and transformative power even centuries after they were written.Wisdom literature exists in two shaping forms - the aphorism, geared towards the past, and the oracle, a revolutionary impulse looking to the future. Secrets of the Oracle discusses both types of wisdom, finding them in the works of poets and philosophers from Tennyson and Zeno to Yeats and George Berkeley, from Browning and Schleiermacher to T.S. Eliot and F.H. Bradley. The book also discusses the contribution to wisdom of Jesus and the author of Ecclesiastes, of Abraham Lincoln and Norman Maclean. Part celebration of wisdom found and part lament for wisdom lost, Secrets of the Oracle is convincing in its assertion that wisdom articulates what is and offers creative visions of the future.

Shu-mei Shih's study is the first book in English to offer a comprehensive account of Chinese literary modernism from Republican China. In The Lure of the Modern, Shih argues for the contextualization of Chinese modernism in the semicolonial cultural and political formation of the time. Engaging critically with theories of modernism, postcoloniality, and global and local cultural studies, Shih analyzes pivotal issues—such as psychoanalysis, decadence, Orientalism, Occidentalism, semicolonial subjectivity, cosmopolitanism, and urbanism—that were mediated by Japanese as well as Western modernisms.

In America's twentieth century, there is no man of letters more versatile, distinguished, and influential than the poet, novelist, editor, critic, social commentator, and teacher Robert Penn Warren (1905–1989). The most intimate of Warren's “letters,” his personal correspondence, now join his published canon under William Bedford Clark's expert supervision. Volume One, The Apprentice Years, forms a kind of epistolary coming-of-age novel, taking Warren from the awkwardness of emerging genius during his Fugitive student years at Vanderbilt to the brink of producing great work in a newly appointed post at Louisiana State University.Warren's earliest correspondence limns a friendship in earnest with Allen Tate, a crushing heartbreak, and an attempted suicide. Eventually the author regroups, graduates with honors, and entertains a bad-boy phase at Berkeley and Yale. As he studies at Oxford, writes his first book, and decides not to complete his doctorate, Warren exhibits a deepening maturity and devotion to his literary craft, expressing ever more complex ideas about poetry and fiction. His nagging financial difficulties, growing commitment to the -Agrarian movement, controversial essay for I'll Take My Stand, marriage to Cinina Brescia, and professional uncertainty as one of the first to combine writing with college teaching lead him into the 1930s, when the bright prospect of tenure and an opportunity to remake the Southwest Review arises.Warren's letters, all but one previously unpublished, fascinate in their revelations, such as the author's surprisingly tangled relationship with his parents, his delicate health, and the gossip about major literary figures, including Tate, John Crowe Ransom, Donald Davidson, and Laura Riding. But beyond rich biographical detail, they offer a veritable self-portrait of the fledgling artist: “When a person writes a letter it is nearly as much one to himself as to the person who takes it from the postbox.” The self-conscious, precocious, yet sensitive young Warren modulates to the sardonic, irreverent aesthete/wit “Red” and finally acquires a voice distinctively “Warrenesque,” confident and sophisticated. Thus the imaginative as well as literal aspects of these years in Warren's life are conveyed, his writing persona and historical person always an intriguing comparison.Highly accessible, unfailingly interesting, and scrupulously annotated, The Apprentice Years will satisfy scholar and lay reader alike, providing a unique window on what it means to “profess” the writer's calling in an era of rapid change. When complete, the selected letters of Robert Penn Warren will prove an indispensable addition to the author's literary oeuvre.

This two-volume set, LNCS 15467 and LNCS 15468, constitutes the refereed proceedings of the 17th International Conference on Interactive Digital Storytelling, ICIDS 2024, held in Barranquilla, Colombia, during December 2–6, 2024. The 21 full papers, 9 short papers, and 11 Late-Breaking Works presented here, were carefully reviewed and selected from 75 submissions. The papers presented in these two volumes are organized under the following topical sections: - Part I : Theory, History and Foundations; Social and Cultural Contexts; Interactive Narrative Design; Applications and Case Studies. Part II : Virtual Worlds, Performance, Games and Play; Tools and Systems; Late Breaking Works.

This two-volume set, LNCS 15467 and LNCS 15468, constitutes the refereed proceedings of the 17th International Conference on Interactive Digital Storytelling, ICIDS 2024, held in Barranquilla, Colombia, during December 2–6, 2024. The 21 full papers, 9 short papers, and 11 Late-Breaking Works presented here, were carefully reviewed and selected from 75 submissions. The papers presented in these two volumes are organized under the following topical sections: - Part I : Theory, History and Foundations; Social and Cultural Contexts; Interactive Narrative Design; Applications and Case Studies. Part II : Virtual Worlds, Performance, Games and Play; Tools and Systems; Late Breaking Works.

Das Yolcılıḳ Kitābı (Reisebuch), das der osmanische Mediziner, Staatsmann und Historiker Hayrullah Efendi (1818–1866) nach einer Europareise verfasste, macht es dem Leser schwer, den genauen Ablauf der Reisen des Autors zu rekonstruieren. Wie die Arbeit zeigt, liegt das daran, dass es sich hier um den Versuch handelt, das Genre des routenbasierten modernen Reiseführers – bekannt vor allem durch die Reihen von Murray, Baedeker und Joanne – in die osmanische Literatur zu übertragen. Der Text kann somit als erster osmanischer Reiseführer bezeichnet werden. Hayrullah orientiert sich dabei stark an französischen Vorbildern, bezieht aber auch osmanische Prätexte und Elemente des Reiseberichts mit ein. Auf diese Weise passt er das Genre seinen Bedürfnissen an, die vor dem Hintergrund der Reformbestrebungen der Tanzimat-Zeit zu sehen sind. Die detaillierte Analyse des Werkes bietet gleichzeitig Anlass, das bislang wenig untersuchte Verhältnis zwischen Reiseführer und Reisebericht zu beleuchten und ein Abgrenzungskriterium zu entwickeln. Eine kommentierte Transkription und Übersetzung wesentlicher Teile des Textes machen dessen komplexen Aufbau erstmals anschaulich verständlich und ermöglichen einen Zugang zu diesem Werk auch über die Osmanistik hinaus.

Through critical textual analysis of the trauma narratives for young readers written in English on political conflicts and the violation of humanitarian values, this book recovers the response to trauma from the margins of the survivor spectrum. By focusing on the experiences of Syrian and Palestinian children, it elucidates how their stories are often portrayed in a manner that not only emphasises their resilience but also underscores the gravity of the experiences. The book sheds light on the multifaceted impact of the conflicts on the region and the psychological toll they take on the younger generation through the representation of their experiences in these narratives. The harrowing experiences of refugees, war victims and displaced persons from non- Western countries often lack a voice in the advancement of the trauma discourse. The theoretical approach utilised in this research thus employs child and adolescent psychoanalysis to extend the existing approach to trauma studies, and brings the neglected and under- represented trauma narratives to the fore. Many of the atrocities discussed in this book continue in the present times, which makes the study of this subject matter even more vital. The ongoing war between Israel and Hamas that has killed thousands of people in the region within a short space of time makes this research even more pertinent and urgent, as the widespread violence and suffering has echoed the trauma that the region has undergone in the past decades.

Kürschners Deutscher Literatur-Kalender – seit über 140 Jahren die bewährte Dokumentation der zeitgenössischen deutschsprachigen Literaturszene – umfasst in seiner 74. Ausgabe Einträge zu ca. 9.000 Schriftstellerinnen und Schriftstellern. Ohne literaturkritische Wertung stellt der Literatur-Kalender die lebenden Verfasserinnen und Verfasser schöngeistiger Literatur in deutscher Sprache vor – unabhängig von Staatsangehörigkeit und geographischem Lebens- und Wirkungsbereich. Die Artikel informieren über Adressen, Lebensdaten, Mitgliedschaften in Fachverbänden und literarischen Vereinigungen, literarische Preise sowie die Veröffentlichungen der Schriftstellerinnen und Schriftsteller. Neu bearbeitet und aktualisiert wurden auch die umfangreichen Verzeichnisse im Anhang: über 1.000 literarische Übersetzerinnen und Übersetzer (mit Sprachenregister), über 700 Verlage, über 500 Literaturpreise mit den Preisträgern der letzten Jahre, mehr als 500 Fachverbände und literarische Vereinigungen, Literaturhäuser, etwa 200 literarische Zeitschriften und Periodika sowie literarische Agenturen, Kulturredaktionen von Rundfunk- und Fernsehanstalten und literarische Feuilletons werden aufgeführt.

How has the process of globalization shaped artistic practices on the one hand, and art history and theory on the other? The contributions in this volume approach this question from a range of perspectives, taking into account the role of travel, for example, or practitioners'increasing knowledge of other cultures, art's increasing awareness of itself as existing on a global level, literary translation, the advance of technology, and the ever-changing grand narratives of art history. As well as reflections on European avant-gardes and neo-avant-gardes, the collection features discussions of Japan, Latin America, Africa, Asia and the Pacific. As a whole, the volume engages with broader current discourses about cultural globalization, and features input from leading scholars around the world as well as some important novel interventions by early-career researchers. The authors not only make a major contribution to the evolution of avant-garde studies, but also offer valuable, original points of view to art history and to the cultural theory of globalization more broadly.

A study of supine, prone, and recumbent figures in contemporary literature The prostitute, the protester, the murder victim, the invalid, the layabout, the depressive: all are associated with lying down. Skewing and flattening the perpendicular axis that defines the human in Western philosophy, art, and humanist inquiry, these downward-directed figures'refusals or failures to hew to the moral and postural logics of uprightness enable a reassessment of subjectivity, ecological relation, and representation—that last of which is, after all, a process of standing-in-for. Here Is a Figure: Grounding Literary Form works across an array of well-known and counter-canonical texts, showing that recumbent figures saturate the literary arts of the present and respond to the proliferation of contemporary forms of grounding, in all its meanings. Reading these figures in dialogue with critical Indigenous studies, disability studies, and horizontalist feminisms, Sarah Dowling reveals the potential in thinking with and through a position stretched out across, dependent on, and undetachable from the earth.

This is the first book-length exploration of the type-scenes of western medieval literature from the ninth to the fifteenth centuries, spanning both the Latinate and Germanic traditions. Type-scenes are the recurring, stock scenes comprising the basic structure and cognitive guidance for narrative. These formulaic scenes enabled medieval poets to express originality while honoring tradition. Central to medieval poetic invention, type-scenes form the vital “internal organs” of narrative, each serving a specialized function while working in concert with other organs to create and sustain the story. This accessible and engaging guide to medieval type-scenes consists of three parts: Part I is a compendium of the type-scenes commonly found in medieval narrative, including analyses of examples from individual poems. Part II explores combinations of type-scenes within single works of literature for purposes of chronology, characterization, or virtuosity. Part III examines how a single type-scene manifests across multiple poems, adapting to a variety of settings and periods, while maintaining its original intent. This volume kindles in scholars, teachers, and students alike a new and refreshing awareness of the foundational narrative strategies of medieval literature.

This book aims to investigate the unconscious in literature using Freudian and Lacanian psychology to analyse the unconscious in a range of literary works. The works of Thomas Hardy, William Golding, and Iris Murdoch are discussed in the first chapter through eight. Based on the argument in these chapters, this volume considers the environmental problem by examining the unconscious in the literary texts, including poetry, in the light of philosophers and critics on ecology. There is a focus on the Oedipus complex, the death drive, and the unsymbolic void, as they have much relevance to each other in the unconscious as to one's relationship with others, primarily with the mother, and underlie the plots and leitmotifs of the literary texts discussed. The author carefully examines the complicated relationship between the infringement of the pleasure principle, and the unsymbolic void, and how they are depicted as various phases of nature.

This book provides a concise introduction to the intellectual trends in contemporary Chinese literature from the 1950s to the 1990s and the influence of overseas Sinology.The turbulent period of the second half of the 20th century in China witnessed a significant societal shift from a revolutionary to an economic focus. This transformation introduced and stimulated various ideas, reshaping public thought and reconstructing the historical landscape of contemporary Chinese literature. This book explores the response and self-exploration of domestic literary studies of the period, which were heavily influenced by the Western academic tradition and overseas Sinology studies. It examines critical phenomena, figures, and events in this context. The author's narrative vividly illustrates the interplay and dialogue of factors such as revolution, reform and opening up, and the rise of literature in the 1980s and 1990s. Combining the methodologies of literary and social history, and integrating personal historical experience with rigorous academic methods, this book provides a unique research framework for revisiting the cultural scene of the period.The title will appeal to scholars and students of contemporary Chinese literature and history. It will also attract general readers interested in Chinese culture and society in the 1980s and 1990s.

The Routledge Companion to Working-Class Literature provides an overview of the history, theory, and analysis of working-class literature. Taking a global and intersectional approach, the Companion demonstrates that literature is central to the (re)interpretation of the working class, a process that involves rereading the past as well as mapping the present.The collection examines how working-class literature is defined and the functions the term serves. It maps current debates and traces the ways in which a wide variety of theoretical and political movements have shaped the field. Challenging the stereotypical view that working-class writing is concerned solely with white, male industrial labourers in the Global North, the volume features chapters on subjects from early modern writing about the poor in England to contemporary poetry by Asian migrant workers. Exploring the theoretical problems of writing about class as well as providing detailed readings of specific texts, it demonstrates the richness and diversity of this rapidly developing field and looks to the future of working-class literature.The Routledge Companion to Working-Class Literature is an accessible, wide-ranging resource. It emphasizes difference and debate, bringing distinct texts, traditions, and critical perspectives into dialogue and is essential for any student or researcher looking at concepts of class within literary studies.

Latin America has been a paradigmatic region for the observation of ecosystemic phenomena since the early modern period. Against the horizon of the Anthropocene, the contributions gathered in this book explore how art has tackled the many processes of exploitation and capitalization characterizing the continent's social, economic and ecological configurations throughout history, as well as their epistemological and technological dimensions.

The Routledge Companion to Literatures and Crisis provides deep insight into a complex and multi-layered phenomenon. The third decade of the twenty-first century is being marked by a polycrisis caused by various world crises, such as the COVID-19 pandemic, armed conflicts and climate change leading to economic, geopolitical, environmental, health and security crises.Featuring 42 chapters, the collection examines crises through literary texts in relation to the environment, finance, migration and diaspora, war, human rights, values and identity, health, politics, terrorism and technology. It illuminates the many faces of the current permacrisis as well as the multifarious crises of the past and their representation in literatures across ages and cultures—from the Viking wars, Black Death in mediaeval Europe, technology in ancient China and the crisis of power in Elizabethan England to imperial biopower in nineteenth-century India, the genocides in the twentieth century, upsurge of domestic violence during the Covid lockdown in Spain and the development of AI.The Companion connects diverse cultures, disciplines and academic traditions to show how and why literature, media and art can voice all types of crises across times. It will be a key resource for students and researchers in a broad range of areas including literature, film studies, narrative studies, cultural studies, international politics and ecocriticism.Chapters: Chapter 6 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution (CC-BY) 4.0 license.

John Guillory considers close reading within the larger history of reading and writing as cultural techniques. At a time of debate about the future of “English” as a discipline and the fundamental methods of literary study, few terms appear more frequently than “close reading,” now widely regarded as the core practice of literary study. But what exactly is close reading, and where did it come from? Here John Guillory, author of the acclaimed Professing Criticism, takes up two puzzles. First, why did the New Critics—who supposedly made close reading central to literary study—so seldom use the term? And second, why have scholars not been better able to define close reading? For Guillory, these puzzles are intertwined. The literary critics of the interwar period, he argues, weren't aiming to devise a method of reading at all. These critics were most urgently concerned with establishing the judgment of literature on more rigorous grounds than previously obtained in criticism. Guillory understands close reading as a technique, a particular kind of methodical procedure that can be described but not prescribed, and that is transmitted largely by demonstration and imitation. Guillory's short book will be essential reading for all college teachers of literature. An annotated bibliography, curated by Scott Newstok, provides a guide to key documents in the history of close reading along with valuable suggestions for further research.

Ecocritical Explorations of the Climate Crisis expands postcolonial precarity studies by addressing the current climate crisis and threats to the habitability of the planet from a range of ecocritical and environmental perspectives. The collection uses planetary thought-action praxis that acknowledges the interconnectedness of all forms of life in addressing the socioecological issues facing humanity: accelerating climate change, over-exploitation of natural resources, and the Global North–South divide. With reference to contemporary cultural productions, such praxis seeks to examine the ideas, images, and narratives that either represent or impede potential disasters like the so-called sixth extinction of the planet, that inspire the dismantling of carbon democracies arising in the wake of neoliberalism, and that address rising inequality with precarious conditions in the transition to renewable energy. The different chapters explore literary and visual representations of planetary precarity, identifying crisis-responsive genres and cultural formats, and assessing approaches to environment-re/making that call for repair, recovery and sustainability. In imagining future habitability, they deploy diverse critical frameworks such as queer utopias, zero-waste lifestyles, alternative ecologies, and adaptations to the uninhabitable. The collection tackles problems of global vulnerability and examines precarity as a condition of resilience and resistance through collective actions and solidarities and innovative constructions of the planet's survival as a shared home. It engages with current postcolonial debates, uses intersectional methodologies, and introduces contemporary literary, visual concepts, and narrative types.

The relationship between critical disability studies and the hearing sciences is a dynamic one, and it's changing still, both as clinicians come to terms with the evolving health of deaf and hearing communities and as the ‘social'and ‘medical'understandings of disability continue to gain traction among different groups. What might a ‘cultural'approach to these overlapping areas of study involve? And what could narrative prose in particular have to tell us that other sources haven't sensed?At a time when visual media otherwise seem to have captured the imagination, Modern Fiction, Disability, and the Hearing Sciences makes the case for a wide range of literature. In doing so – through serials, short stories, circadian fiction, narrative history, morality tales, whodunits, Bildungsromane, life-writing, the Great American Novel – the book reveals the diverse ways in which writers have plotted and voiced experiences of hearing, from the nineteenth century to the present day.

This book examines Chinese traditional poetry with an emphasis on the sources of pleasure in creating and appreciating classical Chinese poems and the basis for valid aesthetic judgments about poetry.The pleasure derived from art plays a crucial role in people's evaluation of its worth. This book shows that Chinese classical poetics and Western aesthetics agree on the sources of aesthetic pleasure. Both hold, despite their obvious differences, that aesthetic taste essentially involves cognition. The book explores important ideas in traditional Chinese poetry, emphasizing that “Poetry is founded upon the power of judgement (shi).” This central idea guides other key concepts throughout the history of Chinese poetics, revealing the fundamental principles of creating and appreciating poetic art. The author presents new views of traditional Chinese poetry and poetics by unifying these long-dispersed basic propositions into a new coherent cognitivist framework that also gives due importance to emotion.Scholars and students studying Chinese literature, poetics, philosophy of art, and philosophy of mind will find this book interesting.

The first part of Volume 14 of the Yearbook presents ten essays concerned with Futurism in Italy, Russia, Ukraine, Czechoslovakia, Romania and Germany, and two focusing on dance and typography. Among other things, this publication provides analysis of the futurist manifestos from late 1910 and 1911 and Velimir Khlebnikov's futurist essays, as well as the networks of Futurism in Odessa. In the second part, a section on Caricatures and Satires of Futurism in the Contemporary Press　examines five humorous images from five countries, in which the movement and its leader were lampooned. This section is followed by nine reviews of recent exhibitions, conferences and publications, and an annual bibliography with details of 128 new books on Futurism. Futurism from international, comparative and interdisciplinary perspectives Transcultural view of international avant-gardes

Das Jahrbuch beleuchtet das komplexe Spektrum an Emotionen, das mit Exilerfahrungen verbunden ist und neben Trauer und Heimweh auch Angst, Wut, Erleichterung und Dankbarkeit umfasst. Wie die Beiträge zu historischen und aktuellen Exiltexten zeigen, ist es gerade die Literatur, die dieses bislang unzureichend erforschte Themenfeld nuanciert verhandelt und so ein Archiv für eine erst noch zu schreibende Gefühlsgeschichte des Exils darstellt.

The Routledge Handbook of Literary Geographies provides a comprehensive overview of recent research and a range of innovative ways of thinking literature and geography together. It maps the history of literary geography and identifies key developments and debates in the field.Written by leading and emerging scholars from around the world, the 38 chapters are organised into six themed sections, which consider: differing critical methodologies; keywords and concepts; literary geography in the light of literary history; a variety of places, spaces, and landforms; the significance of literary forms and genres; and the role of literary geographies beyond the academy. Presenting the work of scholars from different disciplinary backgrounds, each section offers readers new angles from which to view the convergence of literary creativity and geographical thought. Collectively, the contributors also address some of the major issues of our time including the climate emergency, movement and migration, and the politics of place.Literary geography is a dynamic interdisciplinary field dedicated to exploring the complex relationships between geography and literature. This cutting-edge collection will be an essential resource for undergraduate and postgraduate students in both Geography and Literary Studies, and scholars interested in the evolving interface between the two disciplines.

This volume breaks new ground in the exploration of Anglo-Italian cultural relations: it presents analyses of a wide range of early modern Italian texts adapted into contemporary English culture, often through intermediary French translations. When transposed into English, their Italian origin was frequently categorized as marvellous and consequently censured because of its strangeness: thus, English translators often gave their public a moralized and tamed version of Italy's uniqueness. This volume's contributors show that an effective way of moralizing Italian custom was to exoticize its origins, in order to protect the English public from an Italianate influence. This ubiquitous moralization is visible in the evolution of the concept of tragedy, and in the overtly educational aim acquired by the Italian novella, adapted for an allegedly female audience. Through the analysis of various literary genres (novella, epic poem, play, essay), the volume focuses on the mechanisms of appropriation and rejection of Italian culture through imported topoi and narremes.

James Malcolm Rymer, Penny Fiction, and the Family is the first monograph focusing on Sweeney Todd and Varney the Vampyre's creator James Malcolm Rymer (1814–1884). It argues that Rymer wrote his so-called ‘penny bloods'and ‘dreadfuls'for and about British urban working families. In the 1840s, the notion of the family acquired unprecedented prominence and radical potential. Raised in an artisanal artistic-literary family, Rymer wrote for and edited family magazines early in that genre's history, deployed Chartist domesticity to liberal ends, and collaborated with cheap publisher Edward Lloyd to define and popularise the domestic romance genre. In 1850s–1860s penny serials published by George W.M. Reynolds, John Dicks, and Lloyd, Rymer showed how families might sustain Empire and advocated for patriarchal family dynamics in response to literary and political change. During the fin-de-siècle, Rymer's penny fiction was demonised as hyper-masculine ‘bloods'and ‘dreadfuls', a reputation it retains today. Reading Victorian penny fiction's most indicative author's works as a corpus and with attention to their original textual, cultural, and political contexts reveals it as the family-oriented phenomenon it in fact was.

Revisiting Shakespeare's Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline. It focuses on the works of Sir Giovanni Fiorentino, Da Porto, Bandello, Ariosto, Dolce, Pasqualigo, and Groto, as well as on commedia dell'arte practices. This book discusses hitherto unexamined materials and revises received interpretations, disclosing the relevance of memorial processes within the broad field of intertextuality vis-à-vis conscious reuses and intentional practices.

Literature has the power to help build a shelter in language for a way of being that holds integrity and love as its root. In the tradition of Audre Lorde, Angela Davis, and many other Black writers and theorists, poet and professor Khadijah Queen observes questions of life and literature, human feeling and behavior, and explores language-based solutions to common cultural conflicts that are often rooted in harmful assumptions. Instead of operating from a base of unquestioned thought and systemic tradition, Radical Poetics presents more inclusive and accurate ways of contemplating literary work. Building on ideas and theoretical practices from Édouard Glissant, Toni Morrison, bell hooks, Saidiya Hartman, and Kimberlé Crenshaw, Queen reads for where love is present as well as for where it is absent—tracing systems of thought and aesthetic choices to track how characters are portrayed in terms of race, gender, class, and disability. She analyzes short stories, novels, nonfiction narratives, poetry, and a play from authors such as Herman Melville, Kate Chopin, Dionne Brand, Frances Ellen Watkins Harper, Ma-ka-tai-me-she-kia-kiak, Sor Juana Inés de la Cruz, Natasha Trethewey, and Muriel Rukeyser. Queen's essays offer shifts in thinking about language—beyond calling out the ways language punishes vulnerability, entrenches harm, and suppresses true intercultural communication. Her intuitive approach aims to correct inaccuracies that have served as a foundation for the discriminatory thinking that undergirds American institutions and culture, particularly the continued glorification of violence. Radical Poetics makes a case for the imperative and practical value of understanding poetics beyond artistic and academic spaces and into everyday life.

Die vor-autonome und noch nicht auf das Feld der Künste beschränkte Ästhetik des ›langen 18. Jahrhunderts‹ strebte eine interdisziplinäre und internationale Kommunikationspraxis an, die eine universelle Verständigung unter den Menschen ermöglichen sollte. Der Band versammelt Beiträge zu der europäischen Geschichte dieser anthropologisch ausgerichteten ästhetischen Kommunikation. Die Aufsätze der ersten Sektion beschäftigen sich mit der zeitgenössichen Theorie der ästhetischen Wissensvermittlung: Es wird die fachübergreifende (Proto-) Ästhetik Shaftesburys und Addisons, die Sprachtheorie von Coleridge bzw. die schwierige Einbürgerüng der Disziplin ›Ästhetik‹ in Frankreich thematisiert. Im zweiten Teil beschäftigen sich zwei Aufsätze mit der Kommunikation durch Bilder, anhand der Analyse von Gemälden Jean-Siméon Chardins und Caspar David Friedrichs. Die Bedeutung des Bild- und Erzählstoffes ›Herkules am Scheideweg‹ für Wielands ästhetische Kommunikation wird hier ebenfalls behandelt. Die dritte Sektion enthält Untersuchungen zu zwei wichtigen Gattungen der ästhetischen Kommunikation. Es werden zunächst unterschiedliche Varianten des Genres Traumerzählung bei Johann Gottlob Krüger und Mihály Vörösmarty beleuchtet. Der Band schließt mit der Analyse von József Eötvös'Künstlerroman Der Karthäuser. Die Fallstudien tragen zu dem besseren Verständnis einer Ästhetik bei, die die Bildung der Menschen durch intersubjektive Kommunikation vorantreiben wollte.

In den Philosophiegeschichten lässt man die Moderne entstehen aus einer von Kant vollendeten Wende von einer Ausrichtung auf die Dinge zu einer Reflexion des Denkens auf sich selbst. Die vermeintliche Einzigartigkeit dieser Wende verstellt den Blick darauf, dass es auch vor der von Kant kritisierten Metaphysik seiner Zeit analytische Untersuchungen des Denkens gab. Bereits in der Antike entwickelte man aus diesen Analysen gegensätzliche Begriffe von Denken. Das führte dazu, dass es Phasen gab, in denen es fast keinen weiteren Transfer der Vorgänger-Positionen gab oder dass deren Lehren nur in einer Umdeutung durch die neue Lehre weiter tradiert wurden. Geht man den Gründen für diese Antithesen nach, stößt man auf Positionen, für die die Arbeit des Denkens erst einsetzt, wenn ihm Gegenstände ‘gegeben'sind, während andere jede Fähigkeit, etwas für sich zu unterscheiden und dadurch erst Gegenstände zu haben, als Denken begreifen. Platon und Aristoteles und ihre Traditionen sind Vertreter der einen, die hellenistischen Schulen Vertreter der anderen Position. Es ist deren Begriff von Denken, auf den die Moderne zurückgreift. Das Buch versucht, die von beiden Seiten ausgeblendeten Bereiche aufzuhellen und eine nicht nur historische Anerkennung, sondern eine sachliche Auseinandersetzung möglich zu machen.

Wo hören Geschichten auf? Wie erkennen wir heutzutage Fiktion? Etwa seit der Jahrtausendwende treten vermehrt transmediale Konstrukte als Formen des experimentellen Storytellings auf, die diese Fragen meist auf inhaltlicher, aber auch auf formaler Ebene stellen. Denn transmediale Konstrukte lassen sich theoretisch mit der Transtextualitätstheorie Gérard Genettes einordnen: Sie bestehen aus einem Erzähltext – Buch, Film, Serie etc. –, der von transmedialen Paratexten begleitet wird, die andere mediale Zeichensysteme nutzen und auf die unabhängig zugegriffen werden kann. Gleichzeitig geben diese transmedialen Paratexte als intradiegetische Internetseiten, Werbespots oder Produkte vor, in der erzählten Welt angesiedelt zu sein. Wenn ein Buch im Buchladen vorgibt, von einer fiktiven Figur aus einer Geschichte geschrieben worden zu sein, ist es dann fiktional? Als textexterner Referent gilt dieses Buch in der Semiotik und Fiktionstheorie eigentlich als Faktualitätssignal – wie also damit umgehen? Amelie Zimmermann weist mit dieser interdisziplinären Arbeit nach, das sich im experimentellen, transmedialen Erzählen unserer Zeit die gesellschaftliche Unsicherheit im Umgang mit Fakt und Fiktion wiederspiegelt.

Resorting to life narratives as a comprehensive umbrella term and embracing hemispheric American studies paradigms, this edited volume explores the interrelations between life narratives, the social world, creativity, and different forms of media to narrate and (re)present the self to see in which way these expressions offer (new) means of (self-) representation within cultural productions from the Americas. Creativity in the context of life narratives nourishes the act of narrating and propels among others the desire to link individual life stories with larger stories of social embeddedness, conditioning, and transformation thus pushing new forms of historiography and other forms of nonfictional writing. Accordingly, the creative impulse fuses individual and collective experience with a larger understanding of the social including the latter's local and global embeddedness. The contributions in this volume analyze the ways in which the dynamics, tensions, and reciprocities between narrative, creativity, and the social world unfold in life narratives from the Americas. In particular, this volume addresses scholars and students of life writing, cultural and literary studies, gender, disability and postcolonial studies with new insights into life narratives from the Americas.

In our information age, deciding what sources and voices to trust is a pressing matter. There seems to be a surplus of both trust and distrust in and on platforms, both of which often amount to having your mindset remain the same. Can we move beyond this dichotomy toward new forms of intersubjective dialogue? This book revaluates the hermeneutic tradition for the digital context. Today, hermeneutics has migrated from a range of academic approaches into a plethora of practices in digital culture at large. We propose a ‘scaled reading'of such practices: a reconfiguration of the hermeneutic circle, using different tools and techniques of reading. We demonstrate our digital-hermeneutic approach through case studies including toxic depression memes, the Johnny Depp/Amber Heard trial, and r/changemyview. We cover three dimensions of hermeneutic practice: suspicion, trust, and dialogue. This book is essential reading for (under)graduate students in digital humanities and literary studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Silent Film Adaptations of Novels by British and American Women Writers, 1903–1929 focuses on fifty-three silent film adaptations of the novels of acclaimed authors George Eliot, Charlotte Brontë, Emily Brontë, Mary Shelley, Louisa May Alcott, Harriet Beecher Stowe, Willa Cather, and Edith Wharton. Many of the films are unknown or dismissed, and most of them are degraded, destroyed, or lost—burned in warehouse fires, spontaneously combusted in storage cans, or quietly turned to dust. Their content and production and distribution details are reconstructed through archival resources as individual narratives that, when considered collectively, constitute a broader narrative of lost knowledge—a fragmented and buried early twentieth-century story now reclaimed and retold for the first time to a twenty-first-century audience. This collective narrative also demonstrates the extent to which the adaptations are intertextually and ideologically entangled with concurrently released early “woman's films” to re-promote and re-instill the norm of idealized white, married, domesticated womanhood during a time of extraordinary cultural change for women. Retelling this lost narrative also allows for a reassessment of the place and function of the adaptations in the development of the silent film industry and as cinematic precedent for the hundreds of sound adaptations of the literary texts of these eight women writers produced from 1931 to the 2020s.

(Eng) Posnaturalezas poéticas. Pensamiento ecológico y políticas de la extrañeza en la poesía latinoamericana contemporánea investigates the environmental, cultural and political significance of the postnatural turn in contemporary Latin American poetry. The postnatural is understood here not in apocalyptic terms but as the materials and views defying the nature-culture and human-nonhuman divide while linking the regional to the planetary. Attending to poetic estrangement, this book explores poetic experimentations with language, audiovisual, digital, and bio art in a postnatural horizon. From the air filled with asbestos in a factory in Santiago de Chile to the flames and ashes from a burning wetland in Cuenca Baja del Paraná, the poetry studied here stages the climate, sanitary, and social crises in Latin America under the expansion of neo-extractivism since the end of the XX century. How does poetry stage, resist, and intervene in these geological and atmospheric mutations? Through close analyses of poems by Carlos Soto-Román, Daniel Samoilovich, Verónica Gerber Bicecci, Santiago Acosta, Cecilia Vicuña, Roxana Miranda Rupailaf, Esthela Calderón, Eduardo Kac, Luigi Amara, Josely Vianna Baptista, and the collective poem　Humedal, Azucena Castro shows how contemporary poetry interacts with ecocides in Indigenous territories, residues of oil production in petrostates, and monoculture in agriculture intensive lands. This book seeks to understand the role of poetic form in shaping, negotiating, and communicating environmental knowledge during the ongoing, profound, and accelerated transformations taking place in Latin America from the 1970s to the present. (Esp) Posnaturalezas poéticas. Pensamiento ecológico y políticas de la extrañeza en la poesía latinoamericana contemporánea investiga el significado medioambiental, cultural y político del giro posnatural en la poesía latinoamericana contemporánea. Lo posnatural no se entiende aquí en términos apocalípticos sino como las materias y visiones que desafían las dicotomías naturaleza-cultura, humano- no humano, al mismo tiempo que interconectan lo regional a lo planetario. Con atención en el extrañamiento poético, este libro explora las experimentaciones poéticas con el lenguaje, el audiovisual, lo digital y el bioarte en el horizonte posnatural. Desde el aire colmado de amianto en una fábrica en Santiago de Chile a las llamas y cenizas de un humedal ardiendo en la Cuenca Baja del Paraná, la poesía estudiada aquí escenifica las crisis ambientales, sociales y sanitarias en América Latina bajo la expansión del neo-extractivismo desde fines del siglo XX. ¿Cómo escenifica, resiste e interviene la poesía en las mutaciones geológicas y atmosféricas? A través de análisis cercanos de poemas de Carlos Soto-Román, Daniel Samoilovich, Verónica Gerber Bicecci, Santiago Acosta, Cecilia Vicuña, Roxana Miranda Rupailaf, Esthela Calderón, Eduardo Kac, Luigi Amara, Josely Vianna Baptista, y el poema colectivo　Humedal, Azucena Castro muestra cómo la poesía contemporánea interactúa con los ecocidios en territorios indígenas, los residuos de la producción fósil en petroestados y los monocultivos en zonas de agricultura intensiva. Este libro busca comprender el rol de la forma poética en la elaboración, negociación y comunicación de conocimientos medioambientales durante las aceleradas y profundas transformaciones en curso que tienen lugar en América Latina desde 1970 al presente. Praise'En este exhaustivo estudio, Azucena Castro brillantemente demuestra cómo la poesía contemporánea latinoamericana emplea el extrañamiento para desmantelar las falsas dicotomías humano/nohumano y cultura/naturaleza. En cambio, a través de la lírica, los poetas analizados dan forma a lo posnatural: el planeta marcado indeleblemente por las actividades destructivas del cap

When Keith Busby published his field-shaping Codex and Context in 2002, the work was referred to as ‘groundbreaking'and ‘monumental'. It prompted scholars of medieval literature to return to manuscripts in their droves. However, Busby's Codex and Context would also enact another, more gradual movement. His formulation of the term ‘medieval Francophonia'to describe the presence, power and effect of French outside France would filter steadily into academic enquiry. The term and concept are now widely recognised and applied in global scholarship, including in multiple major projects dedicated to the topic. This volume brings together a series of cutting-edge studies of medieval Francophonia, covering in one place and for the first time the fullest scope of the concept's remit, with contributions on history, historiography, language, literature, culture, society and authority. At the same time as offering a timely contribution to the field, this volume pays tribute to Busby's life work not only to pioneer medieval Francophonia, but also, and moreover, to encourage the study of the medieval through material philology. Each of the studies here, written by Busby's friends and colleagues, thus roots its approach in a material context.

This book explores core issues in the emerging field of World Anglophone Studies. It shows that traditional frameworks based on the colonial and imperial legacies of English need to be revised and extended to understand the complex adaptations, iterations, and incarnations of English in the contemporary world.The chapters in this volume make three significant interventions in the field: First, they showcase the emergence of Anglophone literatures and cultures in parts of the world not traditionally considered Anglophone – Cuba, the Arab world, the Balkan region, Vietnam, Algeria, and Belize, among others Second, they feature new zones of contact and creolization between Anglophone literatures, cultures, and languages such as Swahili, Santhali, Ojibway, and Hindi, as well as Anglophone representations of colonial encounters and contemporary experiences in non-Anglophone settings such as Cuba, Angola, and Algeria And finally, the volume turns to Anglophone literary and cultural productions on new platforms such as social media and Netflix and highlights the role of English in emergent sites of resistance involving women, Indigenous populations, queer and other non-heteronormative sexualities, as well as post-conflict societies Mapping linguistic transgressions and the transmigration of cultural tropes between Englishes, vernaculars, and a wide variety of other languages with a rich set of case studies, this volume will be essential reading for courses such as world literatures in English, postcolonial studies, anglophone studies, literature and culture, Indian Ocean worlds, Global Englishes, and Global South studies.

The emergence of social change in the daily lives of English society appeared most noticeably through the Romantic-era response of human emotions to a period of reason that has defined the era of Enlightenment, scientifically and philosophically. Remarkably, the dramatic political shift that occurred in 1789 from a French monarchy to a constitutional democracy foreshadowed social changes to the family unit that were more slowly evolving throughout England during the eighteenth century. An intellectual movement to educate all members of society strengthened efforts to loosen ecclesiastical control, allowing more secular definitions of social roles to emerge. The nature of marriage during this period in England is central to understanding how the marriage covenant became a widely accepted civil contract. Examining the sentiments of passion and virtue, the dynamics of traditional marriage emerge through newly established perspectives. The role of the wife as a Romantic-era concept tells the story of two women through their married lives and literary identities. The social imagination provides a new perspective on domestic concerns to illuminate a feminine aspect of the literary market through an understanding of the ordinary wife among female writers. Moreover, a specific focus on marriage, virtue, and friendship as seen through two relationships examines individuals who define both a traditional and a non-conforming approach to their domestic lives. Two husbands who were political and religious activists with wives who were atypical domestics were chosen to exemplify the effects of social change on their particular lives and marital roles in an expanding literary world.

This book takes the unique approach of combining cognitive approaches with more established close-reading methods in analysing a selection of Japanese novels and a film.They are by four well-known male authors and a director (Natsume Sôseki, Shiga Naoya, Ôe Kenzaburô, Ibuse Masuji and Imamura Shôhei) and five female authors (Kirino Natsuo, Kawakami Mieko, Murata Sayaka, Tsushima Yûko, and Ishimure Michiko) from the early twentieth century up to the early millennium. It approaches the different artistic strategies that oscillate between emotional immersion and critical reflection. Inspired by new developments in cognitive theory and neuroscience, the book seeks to put a spotlight on the aspects of modern Japanese novels that were not fully appreciated earlier; the eclectic and fluid nature of the novel as a form, and the vital roles played by affects and emotions often complicated under the impact of trauma.Rejuvenating previously established cultural theories through a cognitive and emotional lens (narratology, genre theory, historicism, cultural study, gender theory, and ecocriticism), this book will appeal to students and scholars of modern literature and Japanese literature.

The present book examines William Carlos Williams's negotiation with cultural modes and systems of the Chinese landscape tradition in his landscape writing. Focusing on Walliams's landscape modes of landscape with(out) infused emotions, the book builds a linkage between their interactions with Chinese landscape aesthetics and shows how these conversations helped shape Williams's cross-cultural landscape poetics. The exploration of Williams's experiment with the Chinese serene interplay of self and landscape, the interfusion of scene and emotion, an idea of seeing from the perspective of Wang Guowei's theory of jingjie, and the poetic space of frustration and completion in the context of space and human geography, expand the understanding of a cross-cultural landscape tradition developed by Williams through bringing into focus the convergence of East-West poetics.