The place of the editor in literary production is an ambiguous and often invisible one, requiring close attention to publishing history and (often inaccessible) archival resources to bring it into focus.
Originally published in 1949, Gilbert Highet's seminal The Classical Tradition is a herculean feat of comparative literature and a landmark publication in the history of classical reception.
This book analyzes a significant group of contemporary historical fictions that represent damaging, even catastrophic times for people and communities; written "e;after the wreck,"e; they recall instructive pasts.
Given Jack Kerouac's enduring reputation for heaving words onto paper, it might surprise some readers to see his name coupled with the word "e;poetics.
Through an engaged analysis of writers such as Wole Soyinka, Ola Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina, Abdul-Rasheed Na'Allah develops an African indigenous discourse paradigm for interpreting and understanding literary and cultural materials.
So many questions surround the key figures in the English literary canon, but most books focus on one aspect of an author's life or work, or limit themselves to a single critical approach.
Places postcolonial literary studies on a new conceptual footing; introduces the concepts, methods and substantive themes underpinning this new approach.
Choice Outstanding Academic Title 2014Toni Morrison and Literary Tradition explores Toni Morrison's construction of alternative and oppositional narratives of history and places her work as central to the imagining and re-imagining of American and diasporic identities.
Exploring the creations of Ba Jin (1904-2005), one of the most significant writers in modern China, this edited volume offers in-depth discussions of the writer and his works from a global perspective to initiate and advance dialogues between the Chinese- and English- speaking scholarly communities.
This book focuses on previously unexplored gaps, limitations and avenues of inquiry within the canon and scholarship of Irish modernism to develop a more attentive and fluid theoretical account of this conceptual field.
The Poetry of Loss: Romantic and Contemporary Elegies presents a renewed look at elegy as a long-standing tradition in the literature of loss, exploring recent shifts in the continuum of these memorial poems.
From the beginning of modern intellectual history to the culture wars of the present day, the experience of assimilating Jews and the idiom of "e;culture"e; have been fundamentally intertwined with each other.
Cristina Vischer Bruns offers a defense of the value of literature and suggests ways in which the problematic relationship between personal and academic reading may be overcome.
This book explores the literary representation of late Victorian and early Edwardian London from an auditory perspective, arguing that readers should 'listen' to impressions of the city, as described by writers such as Conrad, Doyle, Ford and Gissing.
The History of the Book in South Asia covers not only the various modern states that make up South Asia today but also a multitude of languages and scripts.
In this timely and dynamic collection of essays, Laura Dubek brings together a diverse group of scholars to explore the literary response to the most significant social movement of the twentieth century.
Home in British Working-Class Fiction offers a fresh take on British working-class writing that turns away from a masculinist, work-based understanding of class in favour of home, gender, domestic labour and the family kitchen.
Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism.
Awarded third place for The Adam Gillon Book Award in Conrad Studies 2009 The book presents a sustained critique of the interlinked (and contradictory) views that the fiction of Joseph Conrad is largely innocent of any interest in or concern with sexuality and the erotic, and that when Conrad does attempt to depict sexual desire or erotic excitement then this results in bad writing.