Search results

Abstract only
The second republic, 1960–2016
Author: Emer Nolan

This book is comprised of five interlinked portraits of exceptional Irish women from various fields – literature, journalism, music, politics – who have achieved outstanding reputations since the 1960s: Edna O’Brien, Sinéad O’Connor, Nuala O’Faolain, Bernadette McAliskey, and Anne Enright. Several of these could claim to be among the best-known Irish people of their day in the world. This book looks at their achievements – works of art in some cases, but also life-writing, interviews and speeches – and at their reception in Ireland and elsewhere, shedding light on some of their shared preoccupations, including equality, sexuality and nationalism. The main focus is on the ways in which these distinguished women make sense of their formative experiences as Irish people and how they in turn have been understood as representative modern figures in Ireland.

Textual representations
Editor: Angela K. Smith

The changes in warfare during the twentieth century could be addressed from a variety of perspectives, political, cultural, and national. This book addresses the issue of how gender is constructed by exploring a range of historical events. It also asserts that a focus on gender, rather than producing a depoliticised reading of our culture, offers an informed debate on a range of political issues. The book explores the impact of warfare on women whose civilian or quasi-military roles resulted in their exile or self-exile to the role of 'other'. The book first draws upon a number of genres to use Richard Aldington and H. D. (the poet Hilda Doolittle), to understand the social and cultural implications of warfare for both parties in a relationship. Then, it examines the intricate gender assumptions that surround the condition of 'shell shock' through a detailed exploration of the life and work of Ver a Brittain. Continuing this theme, considering the nature of warfare, the gendered experience of warfare, through the lens of the home front, the book discusses the gendered attitudes to the First World War located within Aldous Huxley's novella 'Farcical History of Richard Greenow'. Wars represented in Western cinema are almost universally gendered as male, which corresponds to the battlefield history of twentieth-century warfare. As this situation changes, and more women join the armed services, especially in the United States, a more inclusive cinematic coding evolves through struggle. The book considers three decades of film, from the Vietnam War to the present.

New approaches and perspectives
Editor: Brian Lewis

This book demonstrates a fruitful cross-fertilisation of ideas between British queer history and art history. It engages with self-identified lesbians and with another highly important source for queer history: oral history. The book highlights the international dimension of what to date has been told as a classic British tale of homosexual law reform and also illuminates the choices made and constraints imposed at the national level. It embarks on a queer critical history, arguing for the centrality, in John Everett Millais's life-writing, of the strange-to-us category of unconventionality. The book aims to expose the queer implications of celebrity gossip writing. It offers a historical analysis of the link between homosexual men and gossip by examining the origins of the gossip column in the British tabloid press in the three decades after 1910. The book provides an overview of the emergence and consolidation of a number of new discourses of homosexuality as a social practice in postwar Britain. It explores a British variant on homophile internationalism before and immediately after the 1967 Sexual Offences Act by mapping Grey's cross-border connections while noting strain against transnational solidarity. The book focuses on evidence collected by the 1977 Committee on Obscenity and Film Censorship to illustrate how gay men conceptualised the place of pornography in their lives and its role in the broader struggle for the freedom.

Greene, Sidney, Donne and the evolution of posthumous fame

English literary afterlives covers the Renaissance treatment of the posthumous literary life. It argues for the emergence of biographical reading practices during the sixteenth and seventeenth centuries, as early readers attempted to link the literary output of dead authors to their personal lives. Early modern authors’ complex attitudes to print, and their attempts to ‘fashion’ their own careers through their writings, have been well documented. This study, by contrast, explores how authors and their literary reputations after their deaths were fashioned (and sometimes appropriated) by early modern readers, publishers and printers. It examines the use of biographical prefaces in early modern editions, the fictional presentation of historical poets, pseudo-biography, as well as more conventional modes such as elegy and the exemplary life. By analysing responses to a series of major literary figures after their deaths – Geoffrey Chaucer, Philip Sidney, Robert Greene, Edmund Spenser, John Donne and George Herbert – English literary afterlives charts the pre-history of literary biography in the period and presents a counternarrative to established ideas of authorial emergence through self-fashioning. The book is aimed at scholars and students of the individual authors covered (Sidney, Spenser, Greene, Donne and Herbert), as well as readers interested in book history, reception history, authorship and life-writing.

Abstract only
Helena Grice

the period 1976–1989 in relation to the theme of transcendence; and Rusk (2002) analyses Kingston’s ‘life writing of otherness’, in juxtaposition with other contemporary women writers like Jeanette Winterson. While this list attests to Kingston’s status as a major literary figure, it also highlights the absence of an extensive study devoted to her entire oeuvre, which includes the major redirection her work has taken since 2002 towards an engagement with a politics of pacifism and eco-feminism (an omission this study seeks to partly redress). Recent studies look

in Maxine Hong Kingston
Reading the gaps in Mary Robinson’s Memoirs (1801)
Susan Civale

allowed Robinson to straddle the contradictory identities of the victimised heroine of sensibility and the titillating actress. The Memoirs was reprinted ten times in the nineteenth century and spurred responses in reviews, essays, novels, illustrated fiction, 142 Romantic women’s life writing poems and biographies. Through analysis of the text itself; comparison with a similar but much less well-known ‘scandal memoir’, The Life of Mrs Gooch (1792); and an examination of Robinson’s nineteenthcentury afterlife, this chapter argues that it may be the so-called failures

in Romantic women’s life writing
Abstract only
Elisabeth Chaghafi

generic study, The Nature of Biography , Robert Gittings even termed Roper’s omission of Utopia a ‘notable and obvious [gap] […] which a modern writer would never allow [since it is] the first thing a present-day reader would wish to hear about’. 16 In fact, the omission is ‘obvious’ in more than one sense: Roper’s decision not to mention Utopia is not only the first thing a ‘present-day reader’ might notice about the Life of Syr Thomas More , it is equally ‘obvious’ given the life-writing conventions he was drawing on. As indicated by the full title of the Life

in English literary afterlives
Abstract only
Megan Cavell and Jennifer Neville

studies: a partial bibliography’, postmedieval , 8 (2017), 500–31, . 3 See Shu-Han Luo, ‘Tender Beginnings in the Exeter Book Riddles ’, in Childhood and Adolescence in Anglo-Saxon Literary Culture , ed. Susan Irvine and Winfried Rudolf (Toronto: University of Toronto Press, 2018), pp. 71–94; Harriet Soper, ‘Reading the Exeter Book Riddles as Life-Writing’, RES , 68.287 (2017), 841–65.

in Riddles at work in the early medieval tradition
Helena Grice

for images of authentic female selfhood – images which might illuminate what a liberated female person would be like’; 25 in both The Woman Warrior and in Katherine Anne Porter’s novel, we witness the necessity for both inspirational female relatives and the desperate attempt to recuperate the ‘fallen’ woman in the family as part of the adolescent girl’s project of maturation. The Woman Warrior as life writing Maureen Sabine proposes that the young Maxine’s project is ‘to figure out the women’s life histories

in Maxine Hong Kingston
Open Access (free)
Birgit Lang, Joy Damousi, and Alison Lewis

genre are especially discernible in the writing about sickness and disability that takes the form of self-help books  targeted at a popular audience, reflecting a trend that began ∙ 217 ∙ A HISTORY OF THE CASE STUDY to flourish during the 1960s. Path­ography and autopathography are new forms of popular, empirically based writing (termed ‘life-writing’) about sickness, often written from the perspective of the affected victim or sufferer.5 Today, these first-person case studies fill row upon row of bookshop shelves, meeting a strong public desire – a desire not that

in A history of the case study