This is a study on the literary relation between Beckett and Dante. It is a reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. The book gives a reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. It is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies.
salvation, resurrection and artistic life. I propose in this chapter a series of connections between imagining the task of writing and imagining the swoon, whereby the swoon is offered as a model of artistic transformation and the initiator of visionary experience. The swoon, as we will see, becomes a shadow of dominant narratives of resurrection and rebirth; it is often used to describe a dark and ‘death-born’ process of revivification. And we find it frequently in the work of nineteenth and early twentieth-centurywriters who channel representations of feminine
Not only did Sigmund Freud know literature intimately, and quote liberally from literatures of several languages, he has also inspired twentieth-century writers and philosophers, and created several schools of criticism, in literary and cultural studies. Freud was not just practising psychotherapy on his patients, helping them in difficult situations, but helping them by studying the unconscious as the basis of their problems. This book deals with Freud and psychoanalysis, and begins by analysing the 'Copernican revolution' which meant that psychoanalysis decentres the conscious mind, the ego. It shows how Freud illuminates literature, as Freud needs attention for what he says about literature. The book presents one of Freud's 'case-histories', where he discussed particular examples of analysis by examining obsessional neurosis, as distinct from hysteria. It analyses Freud on memory, in relation to consciousness, repression and the unconscious. Guilt was one of his central topics of his work, and the book explores it through several critical texts, 'Criminals from a Sense of Guilt', and 'The Ego and the Id'. The book discusses Melanie Klein, a follower of Freud, and object-relations theory, while also making a reference to Julia Kristeva. One of the main strands of thought of Jacques Lacan was the categories of the Imaginary, the Symbolic, and the Real, as well as paranoia and madness, which are linked to literature here. The book finally returns to Freud on hysteria, and examines him on paranoia in Daniel Paul Schreber, and the psychosis of the 'Wolf Man'.
The ecoGothic sensibilities of Mary Shelley and Nathaniel Hawthorne
This chapter argues that Shelley and Hawthorne adapt traditional Gothic imagery to environmental contexts in order to create two distinctly different ecoGothic visions of the extinction of humanity. Drawing on ideas advanced by ecocritics, conservation biologists, and psychoanalytic thinkers, this chapter describes the historical context and emotional import of extinction science and its impact on Shelley and Hawthorne. Taking up The Last Man and The Ambitious Guest, respectively, the chapter contrasts Shelley’s view of nature as a indiscriminate force that slaughters millions of innocent humans, with Hawthorne’s view of nature as a vengeful force that punishes a small, symbolically significant group of sinful humans. It concludes by noting that it was Hawthorne’s brand of ecoGothic writing, not Shelley’s, that eventually became immensely popular with late-twentieth-century writers and filmmakers.
fashion has swung against
Chatwin, and it is now decidedly unhip to admire his work’, whilst Blake
Morrison asked in the Guardian: ‘Does anyone read Bruce Chatwin these
In many ways, a slide into unfashionability would have appealed to
Chatwin, whose own admiration always gravitated to the forgotten
and obscure; many of his favourite twentieth-centurywriters – such as
Mary Webb, Ernst Jünger and Sybille Bedford – experienced a critical
and popular diminution subsequent to their deaths. Yet, outside of the
literary commentariat, there seems scant hard evidence to
Ms Betty Boothroyd was right to warn Parliament against the everpresent dangers of political apathy – turnout has dropped in recent years
(though it did go up marginally in 2005). However, politics is more than
just voting. The idea that political involvement is nothing more than our
right to choose our rulers, as proposed by John Stuart Mill and Joseph
Schumpeter, is but one model of democracy – and not an unchallenged
one at that.
Twentieth-centurywriters and politicians have argued that political
participation can assume other forms, including protests, signing
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
capitalist owners of factories, enterprises and the like. Antonio Gramsci, a twentieth-centurywriter who shared Marx’s basic analysis, elaborated such a perspective for present times, especially in respect of the media.
As Britain does not have a written constitution – it has tended to change gradually over the centuries – it is not easy to hold definite views upon it. However, like any country, Britain has its own unique system of government, parts of which are warmly supported and others of which are not. Free speech might not seem to be something
than is usual in the Coming out novel’ ( Contemporary Lesbian Writing , p. 101). In a basic way, then, this novel and its critical treatment typify the anti-realist leanings of lesbian/gay criticism.
What queer theorists do
Identify and establish a canon of ‘classic’ lesbian/gay writers whose work constitutes a distinct tradition. These are, in the main, twentieth-centurywriters, such as (for lesbian writers in Britain) Virginia Woolf, Vita Sackville-West, Dorothy Richardson, Rosamond Lehmann, and Radclyffe Hall.
Identify lesbian/gay episodes in mainstream
the ‘Realist’ novel contains implicit validation of the existing social structure, because realism, by its very nature, leaves conventional ways of seeing intact, and hence tends to discourage critical scrutiny of reality. By ‘form’ here is included all the conventional features of the novel – chronological time-schemes, formal beginnings and endings, in-depth psychological characterisation, intricate plotting, and fixed narratorial points of view. Similarly, the ‘fragmented’, ‘absurdist’ forms of drama and fiction used by twentieth-centurywriters like Beckett and