Yorick's on the Margin


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Fiction after the Fatwa


Book Description

Fiction after the Fatwa: Salman Rushdie and the Charm of Catastrophe proposes for the first time an examination of what Rushdie has achieved as a writer since the fourteenth of February 1989, the date of the fatwa. This study argues that his constant questioning of fictional form and the language used to articulate it have opened up new opportunities and further possibilities for writing in the late twentieth and early twenty-first centuries. Through close readings and intensive textual analysis, arranged chronologically, Fiction after the Fatwa provides a thought-provoking reflection on the writer’s achievements over the last thirteen years. Aimed principally at academics and students, but also of interest to the general reader, it engages with the specific nature of the post-fatwa fiction as it moves from the fairy-tale world of Haroun and the Sea of Stories to the heartbreaking post-realism of Fury.




Laurence Sterne in Modernism and Postmodernism


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Laurence Sterne's Tristram Shandy is the most wayward -- and in some respects the most powerful -- critique of Locke's theory of knowledge, while his interest in the gulf between biological and clock time makes him a contemporary of Proust and Bergson. In obscuring the fine line between autobiography and fiction, Sterne belongs to the generation of modern writers that includes Joyce and Nabokov. In his deliberate refusal to construct a 'goahead plot' Sterne commends himself to contemporary narratologists. In his concern with personal identity, he anticipates the Derridean stress on 'trace'. In his promiscuous borrowings from past authors, he offers himself as a suitably perverse model for the school of postmodern theory. In his attention to matters of typography and to a visual language, he provides a running commentary on almost every aspect of the relationship between word and image. Himself influenced by Rabelais, Montaigne, Cervantes and Burton, Sterne has influenced writers as diverse as Cabrera Infante, Kundera, Márquez, Rushdie and Beckett. And James Joyce. These influences are traced here by sixteen scholars from Europe and the USA, proof if any were needed that Laurence Sterne today is as rewardingly puzzling as he was in his own century.




The English Novel, Vol II


Book Description

The English Novel, Volume II: Smollett to Austen collects a series of previously-published essays on the early eighteenth-century novel in a single volume, reflecting the proliferation of theoretical approaches since the 1970s. The novel has been the object of some of the most exciting and important critical speculations, and the eighteenth-century novel has been at the centre of new approaches both to the novel and to the period between 1750 and 1800. Richard Kroll's introduction seeks to frame the contributions by reference to the most significant critical discussions. These include: the general importance of 'sentimentalism' as a cultural movement after 1750; its relationship to the emergence of the Gothic novel as a specific genre or mode; the rapid rise in the number of women novelists in the later eighteenth century; the relationship between the novel as mediator of social relations and the idea of the 'public sphere'; the relationship between novelistic codes and the massive growth of a consumerist society; the class conflicts of writers like Smollett; the effect on the novel of the new 'British' nation; and the effects of the French Revolution and the subsequent political debates on writers like Wollstonecraft, Godwin, and Austen. This collection will be of interest to students of the later enlightenment, and also to all who are interested in late eighteenth-century radicalism, and the general relationship between literature, history, and politics.




The Theosophical Path


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Laurence Sterne and the Eighteenth-Century Book


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Offers new readings of Laurence Sterne's Tristram Shandy by considering its design features alongside broader developments in eighteenth-century book production.




The Centre and the Margins in Eighteenth-Century British and Italian Cultures


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The relationship between the cultural Centre and cultural Margins has fascinated scholars for generations. Who, or what, determines what shall constitute the 'Centre' of a culture, its sacred and canonical forms and substance, and what the Margins? There are significant examples of the Margins of one generation moving to become the Centre of another. These are more than mere shifts of fashion and represent nothing less than a seismic cultural shift. How, and in what circumstances, can such a ...




Political Constructions


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Focussing on three major eighteenth-century English novelists, Carol Kay explores the connections between institutional politics, political philosophy, and fiction. Drawing from Hobbes's Leviathan a political "problematic," a complex of interconnected topics, Kay offers an alternative to current critical theories that overlook the importance of political institutions in literary analysis. She considers Hobbes's though a key to what has been called the growth of political stability in England during this period, a consolidation of national authority which was brutal in some respects and a matter of intense controversy. Political Constructions shows how the fictional creations of Defoe, Richardson, and Sterne challenge but ultimately support Hobbes's diagnosis of a fundamental human ignorance and competition which require the political solution of consent to authority. Although they testified to the potential for social conflict, Kay concludes, the works of novelists and philosophers helped make England the prototype of the settled state, the country that did not have a modern revolution.




Anecdotal Shakespeare


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Shakespeare's four-hundred-year performance history is full of anecdotes – ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.




Puck


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