Since 1980s, there has been a steady stream of excellent work on the politics of literature and the literature of politics in seventeenth century England. Work on Andrew Marvell has seen a resurgence in the new millennium, driven by landmark scholarly editions of both his poetry and his prose. This book invites readers to entertain the prospect of placing Marvell at the centre of the literary landscape, exploring how such placement would shift people's perceptions of seventeenth-century literary culture. It presents a collection of essays that are divided into three sections. The first section asks readers to consider novel ways in which early modern and contemporary readers have conceived of texts and their position in the public world of print consumption and critical practice. It focuses on the relationship between literary texts and their historical moments, aesthetics, contextualisation of the religious, political, or social and Marvell's lasting awareness of and fascination with the public. The second section outlines seventeenth-century accounts and perceptions of child abuse, and the problems of identifying and recounting the experience of abuse and the broader significance of the appeal to Marvell of European poetry. The last section takes up issues of literary relations between prominent authors of the century. It illustrates how Marvell's depiction also stands in relation to Dutch representations of de Ruyter's victory, which emphasised the martial heroism as well as the negative consequences of the English monarchy's economic policies.
eccentric characters. But more akin to other
contemporaneous arts, modernist and postmodernist literature, in
which the pathological and paradoxical filters into self-conscious form,
investigates the chaos on which modernity verges – its decentring, its
forgetting, its contradictions – from within. That is, it looks at and
into the man beneath his patched overcoat, retracing unruly city and
sentence by turning through unruly subject. It surveys social and
literarylandscapes refracted through alienated consciousnesses.2
Circling predominantly within the confines of the
Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature
writers do not necessarily
examine the world along an ethnic binary logic of “us/them,” “self/other,”
but instead open the door to new and different ways to narrate the world we
all live in, while offering ‘a more diverse spectrum of socio-economic space
and geographical locations’ (Higbee, 2013: 25).4 In other words, I would
like to demonstrate how these novels seek ‘to be grounded and not simply
“deterritorialized” or “deterritorializing” for that matter’ (Mehrez, 1993:
33),5 in a literarylandscape that does not pertain to a minority literature, but
to literature at
This comprehensive study of A. S. Byatt's work spans virtually her entire career and offers readings of all of her works of fiction up to and including her Man-Booker-shortlisted novel The Children's Book (2009). The chapters combine an overview of Byatt's œuvre to date with close critical analysis of all her major works. The book also considers Byatt's critical writings and journalism, situating her beyond the immediate context of her fiction. The chapters argue that Byatt is not only important as a storyteller, but also as an eminent critic and public intellectual. Advancing the concept of ‘critical storytelling’ as a hallmark of Byatt's project as a writer, the chapters retrace Byatt's wide-ranging engagement with both literary and critical traditions. This results in positioning Byatt in the wider literary landscape.
This chapter explores the contexts, both educational and convivial, in which many epigrams were composed and initially circulated. The genre's central place in the educational practices of the period was particularly significant; it helped establish an “epigram habit” that poets took with them into later life, one that solidified the genre’s place in the literary landscape of the period. Overall, the university context, as reflected in the epigrams of Degory Wheare and Charles Fitzgeffry, was particularly significant in fostering epigram composition.
This book charts the vast cultural impact of Charlotte Bronte since the appearance of her first published work, Poems by Currer, Ellis and Acton Bell. It highlights the richness and diversity of the author's legacy, her afterlife and the continuation of her plots and characters in new forms. The most well known and well regarded of the three sisters during the Victorian period, Charlotte Bronte bequeathed a legacy which is more extensive and more complex than the legacies of Emily Bronte and Anne Bronte. The book shows how Bronte's cultural afterlife has also been marked by a broad geographical range in her consideration of Bronte-related literary tourism in Brussels. It is framed by the accounts of two writers, Elizabeth Gaskell and Virginia Woolf, both of whom travelled to Yorkshire to find evidence of Charlotte Bronte's life and to assess her legacy as an author. The book focuses upon Bronte's topical fascination with labour migration for single, middle-class women in the light of the friendship and correspondence with Mary Taylor. Recent works of fiction have connected the Brontes with the supernatural. The book explores Bronte biodrama as a critically reflexive art: a notable example of popular culture in dialogue with scholarship, heritage and tourism. The Professor and Jane Eyre house the ghost of an original verse composition, whose inclusion allows both novels to participate together in a conversation about the novel's capacity to embody and sustain a lyric afterlife. A survey of the critical fortunes of Villette is also included.
Eccentric creative consciousness is marked by the many contradictions inherent in being cast on the margins of paradoxically marginocentric geo-cultural sites. This book seeks to bring greater clarity to discrete urbane architectonics of modernist literature within a distended Western (including Slavic and Latin American) tradition. It traces different slants of the rational plane in modernist fictions by rupturing, deconstructing and reconstructing consciousness along differently temporalized and spatialized axes respectively aligned with concentric and eccentric cultural construction. The book redefines some of the dimensions, dynamics, creative capacities and critical contributions of discrete literary modernisms - concentric, but especially, eccentric. A distinction is made between pathologically memoried and mad (particularly manic and paranoid schizophrenic) modes of cultural consciousness, concentrated in reflexive citytexts respectively located at the centre of European modernism. The book re-examines the development of literal and literary landscapes underpinning paranoid schizophrenic constructions of eccentric consciousness in Nikolai Gogol's and Fyodor Dostoevsky's Petersburg tales and Joaquim Maria Machado de Assis's Rio narratives. It reconsiders these works as critical and creative responses to urbane European genres as well as earlier strains of Russian and Brazilian literary and artistic representation. The book focuses on eccentric consciousnesses framing the hallucinated cities drawn by writers including Andrei Bely, Mario de Andrade, Mikhail Bulgakov, Osman Lins, Clarice Lispector and Liudmila Petrushevskaya.
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
Nation, gender and place in the literary landscapes of Haworth and Brussels
Brontë countries: nation, gender
and place in the literarylandscapes
of Haworth and Brussels
The legacy of Charlotte Brontë is inextricably bound up with place: even
before the author’s death in 1855, intrigued readers had begun to visit
Haworth parsonage, and the publication of Elizabeth Gaskell’s Life of
Charlotte Brontë in 1857 further encouraged a steady stream of visitors
in the following years. With the establishment of a Brontë museum in
1895 and the acquisition of the parsonage by the Brontë Society in 1928,
essays in this volume
take up these strains of criticism to read Marvell and his contemporaries
in contextually novel ways. More generally, the variety of approaches
offered in this collection is representative of both the evolving diversification of critical methodologies in our field as well as the varied tactics that
Marvell’s poetry consistently demands of us.
However, our title also invites readers to entertain the prospect of
placing Marvell at the centre of the literarylandscape during the years
1638–1700, not in an old-fashioned effort to reshape the literary