• Enfermement
• Tommaso Campanella, ou l'écriture comme action à l'intérieur et à l'extérieur de la prison
• Mlle Bonafon : subir et aménager le système de domination
• Charles Dassoucy: exploiter les traces des épreuves passées
• Mettre en action l'enfermement. La Solitaire des rochers
• Épilogue en guise de conclusion
• Dans l'événement
• Des écrits à la place de l'événement : l'interdit de Venise (1606-1607)
• L'écriture dans l'événement: la marche sur Madrid de don Juan d'Autriche (1668-1669)
• Quand commence l'interprétation de l'événement ?
• La journée des Dupes (1630-1631)
• Être dans l'événement
• Le journalisme politique à la fin du XVIIe siècle
• Quand l'écrit s'interpose: l'événement escamoté (1649)
• Retz. Théorie de l'action et action de l'écriture
• Les Mémoires de Retz à l'épreuve de La conjuration du comte Jean-Louis de Fiesque de Paul de Gondi
• Les lettres épiscopales
• Le conclave de 1655. Écritures de Retz, écritures sur Retz
• Scène(s). Écriture, paroles et action
• L'écrit n'agit pas comme la parole : le cas du Sermon sur l'unité de l'Église de Bossuet
• Action orale, action écrite : le sermon comme "agent double"
• La lettre sur scène au XVIIe siècle : écriture dramatique et action épistolaire
• Au XIXe siècle, l'engagement ?
• L'écrit girouette : Étienne de Jouy et la série des Hermites
• Les ouvriers de l'engagement
• Écrits d'Icarie
• 1848 et le monde des théâtres
• Écrits de Versailles
• Versailles, 1664 : les Plaisirs de l'Île enchantée
• Les Versailles des Perrault
• Pasteurs et brebis de cour
• Obéissances
• Relations sociales de dépendance
• Protestations d'obéissance
• Affaires d'obéissance
• Pour finir.

"Les écrits agissent. Ils prescrivent, ils commentent, ils émeuvent, bref ils transmettent. Regarder cette transmission non sous l'angle des effets qu'elle postule mais de l'action qu'elle accomplit déplace l'histoire des écrits comme celle des actions. Entre Renaissance et XIXe siècle, ce livre s'emploie à réaliser un tel déplacement du regard. Observer, dans des situations banales ou non, ce qui peut être fait par des écrits insère le geste d'écriture dans un tissu d'autres actions qu'il modifie et qui l'infléchissent. Ces contextualisations permettent de sortir du face à face réducteur entre réceptions du lecteur et intentions d'auteur. L'introduction, en forme de manifeste, situe la démarche par rapport aux savoirs et aux méthodes des études littéraires et des sciences sociales. L'analyse se déploie ensuite à partir de nombreux cas rassemblés autour de problèmes centraux pour la compréhension de l'écriture comme action. Issu d'une enquête collective du Groupe de recherches interdisciplinaires sur l'histoire du littéraire (Grihl), ce travail collectif, tissé à vingt-huit, ne propose pas une improbable histoire des actions d'écriture, mais esquisse un modèle de compréhension de l'action de l'écrit et par l'écrit : une réflexion, donc, sur l'action des écrits dans l'histoire. Le livre est introduit par Alain Cantillon, Laurence Giavarini, Dinah Ribard et Nicolas Schapira."--Page 4 of cover.

• Gossip girls: Lady Teazle, Nora Helmer, and invisible-hand drama / Joseph Roach
• "Vinløv i håret": the relationship between women, language, and power in Ibsen's Hedda Gabler / Tanya Thresher
• "¡Silencio, he dicho!": space, language, and characterization as agents of social protest in Lorca's rural tragedies / Bilha Blum
• The money shot: economies of sex, guns, and language in Topdog/Underdog / Myka Tucker-Abramson
• The space stage and the circus: e.e. cummings's Him and Frederick Kiesler's Raumbühne / Allison Carruth
• How to do nothing with words, or waiting for Godot as performativity / Richard Begam
• Reinventing Beckett / S.E. Gontarski
• Uncloseting drama: Gertrude Stein and the Wooster Group / Nick Salvato
• Synge's Playboy and the eugenics of language / Nicholas Crawford
• The Pillowman and the ethics of allegory / Hana Worthen and W.B. Worthen
• Cognitive catharsis in The Caucasian chalk circle / R. Darren Gobert
• Jane Harrison and the savage Dionysus: archaeological voyages, ritual origins, anthropology, and the modern theatre / Julie Stone Peters.

Exploring the relationship between dramatic language and its theatrical aspects, Reading Modern Drama provides an accessible entry point for general readers and academics into the world of contemporary theatre scholarship. This collection promotes the use of diverse perspectives and critical methods to explore the common theme of language as well as the continued relevance of modern drama in our lives. Reading Modern Drama offers provocative close readings of both canonical and lesser-known plays, from Hedda Gabler to e.e. cummings' Him. Taken together, these essays enter into an ongoing, fruitful debate about the terms 'modern' and 'drama' and build a much-needed bridge between literary studies and performance studies.
(source: Nielsen Book Data)

• PREFACE: Someone Else's Life ix INTRODUCTION: The Fairy Godmother 1 "Advancement, of course" 1 "I don't want to be patronised" 10 Description of the Chapters 17
• CHAPTER ONE: Erotic Patronage: Rousseau, Constant, Balzac, Stendhal 22 Older Women 22 Interest, Disinterest, and Boredom 32 The Acquisition of the Donor 38 "... something a bit like love" 50
• CHAPTER TWO: How to Be a Benefactor without Any Money 55 "My brother's body lies dead and naked ..." 55 Saving Boys: Horatio Alger 67 "I wouldn't keep a pig in it myself": Great Expectations 73
• CHAPTER THREE: "It's not your fault": Therapy and Irresponsibility from Dreiser to Doctorow 86 Styles of Radical Antistatism: D. A. Miller and Christopher Lasch 86 Loyalty and Blame in Dreiser's The Financier 96 "... take hospitals, the cops and garbage collection": Budd Schulberg's What Makes Sammy Run? 109 "I like ... to be reliable": E. L. Doctorow's Billy Bathgate 117
• CHAPTER FOUR: A Portrait of the Artist as a Rentier 127 "Where are your nobles now?": Bohemia in Kipps, My Brilliant Career, and Trilby 127 "I don't think I should be unhappy in the workhouse": George Gissing, Perry Anderson, and the Unproductive Classes 136 "You're a Town Hall wallah, aren't you?": Pygmalion and Room at the Top 145
• CHAPTER FIVE: The Health Visitor 158 Dumpy: Carolyn Steedman's Landscape for a Good Woman 158 Personal: Richard Rodriguez's Hunger of Memory 167 Help: Tillie Olsen's "I Stand Here Ironing" and Alan Sillitoe's "The Loneliness of the Long-Distance Runner" 179 "I hate lawyers. I just work for them": Erin Brockovich 186
• CHAPTER SIX: On the Persistence of Anger in the Institutions of Caring 190 Anger 190 Caring: Kazuo Ishiguro's Never Let Me Go 199 Rising in Sociology: Pierre Bourdieu, Paul Willis, and Richard Sennett 210 Coda: Anger, Caring, and Merit 229 CONCLUSION: The Luck of Birth and the International Division of Labor 232
• Notes 245 Index 289.
• (source: Nielsen Book Data)

We think we know what upward mobility stories are about--virtuous striving justly rewarded, or unprincipled social climbing regrettably unpunished. Either way, these stories seem obviously concerned with the self-making of self-reliant individuals rather than with any collective interest. In Upward Mobility and the Common Good, Bruce Robbins completely overturns these assumptions to expose a hidden tradition of erotic social interdependence at the heart of the literary canon. Reinterpreting novels by figures such as Balzac, Stendhal, Charlotte Bront, Dickens, Dreiser, Wells, Doctorow, and Ishiguro, along with a number of films, Robbins shows how deeply the material and erotic desires of upwardly mobile characters are intertwined with the aid they receive from some sort of benefactor or mentor. In his view, Hannibal Lecter of The Silence of the Lambs becomes a key figure of social mobility in our time. Robbins argues that passionate and ambiguous relationships (like that between Lecter and Clarice Starling) carry the upward mobility story far from anyone's simple self-interest, whether the protagonist's or the mentor's. Robbins concludes that upward mobility stories have paradoxically helped American and European society make the transition from an ethic of individual responsibility to one of collective accountability, a shift that made the welfare state possible, but that also helps account for society's fascination with cases of sexual abuse and harassment by figures of authority.
(source: Nielsen Book Data)

• Flaubert--the demise of the spectator
• Flaubert--urban poetics
• Dickens--the realism of metaphor
• Dickens--intimations of apocalypse
• Bely--phantasmatic city
• Woolf--urban pastoral
• Joyce--metropolitan shuffle
• Kafka--suspicion and the city.

In Imagined Cities, Robert Alter traces the arc of literary development triggered by the runaway growth of urban centres from the early nineteenth century through the first two decades of the twentieth. As new technologies and arrangements of public and private space changed the ways people experienced time and space, the urban panorama became less coherent - a metropolis defying traditional representation and definition, a vast jumble of shifting fragments and glimpses - and writers were compelled to create new methods for conveying the experience of the city. In a series of subtle and convincing interpretations of novels by Flaubert, Dickens, Bely, Woolf, Joyce, and Kafka, Alter reveals the ways the city entered the literary imagination. He shows how writers of diverse imaginative temperaments developed innovative techniques to represent shifts in modern consciousness. Writers sought more than a journalistic representation of city living, he argues, and to convey meaningfully the reality of the metropolis, the city had to be recreated or reimagined. His book probes the literary response to changing realities of the period and contributes significantly to our understanding of the history of the Western imagination. Robert Alter is the Class of 1937 Professor of Hebrew and Comparative Literature at the University of California, Berkeley. He is the author of Canon and Creativity: Modern Writing and the Authority of Scripture, published by Yale University Press.
(source: Nielsen Book Data)

• Pierre Janet : the phobia of everyday life
• Flaubert : the revenge of art on life
• The cult of the unreal : Nodier and romantic monomania
• Between Kant and Hegel : Baudelaire's dialogue with obsession
• Middlemarch : abstraction and empathy
• Musings on hypochondria : Thomas Mann's magic thermometer
• Elias Canetti's Auto-da-fé : the scholarly malady
• The cure in the disease : Nina Bouraoui's melancholic imperative
• Voyeuristic monomania : Sophie Calle's rituals.

"This book is about the obsessive strategies people use to keep the arbitrary out of their lives; it is about the fanaticism and intolerance linked to their ideas of perfection and permanence. . . . Those readers who have brushed against the dangers of the idee fixe, who have come close to surrendering to something or someone diabolically seductive or coercive, will recognize in these characters their own encounter with a dangerously systematized world." From the introduction. Monomania explores the cultural prominence of the idee fixe in Western Europe during the nineteenth and twentieth centuries. Marina van Zuylen revives the term monomania to explore the therapeutic attributes of obsession. She introduces us to artists and collectors, voyeurs and scholars, hypochondriacs and melancholics, whose lives are run by debilitating compulsions that may become powerful weapons against the tyranny of everyday life. In van Zuylen's view, there is a productive tension between disabling fixations and their curative powers; she argues that the idee fixe has acted as a corrective for the multiple disorders of modernity. The authors she studies Charles Baudelaire, Sophie Calle, Elias Canetti, George Eliot, Gustave Flaubert, and Thomas Mann among them embody or set in motion different manifestations of this monomaniacal imperative. Their protagonists or alter egos live more intensely, more meaningfully, because of the compulsive pressures they set up for themselves. Monomania shows that transforming life into art, or at least into the artful, drives out the anxiety of the void and puts in its place something so orderly and meaningful that it can take on the aura of a religion.".
(source: Nielsen Book Data)

• Introduction
• 1. Setting the Debate: the 1820s
• 2. The Influence of Print
• 3. The Word of Law/The Law of the Word
• 4. Publishing, Printing, Communication
• 5. Fiction in the Market
• 6. Print Media and the "Popular"
• 7. Reading Spaces
• 8. Newspapers
• 9. Authors, Journalists, Reviewers
• 10. Graphic media
• 11. Textual Lives.
• (source: Nielsen Book Data)

Victorian culture was dominated by an ever expanding world of print. A tremendous increase in the volume of books, newspapers, and periodicals, was matched by the corresponding development of the first mass reading public. Victorian Print Media: A Reader consists of edited extracts from nineteenth-century sources which discuss all aspects of the production and circulation of print media. The extracts are organised into themed sections such as authorship and journalism, reading spaces, and the influence of print.
(source: Nielsen Book Data)

• Crisis in the humanities? Reconfiguring literary study for the twenty-first century
• Cunning passages and contrived corridors: rereading Eliot's "Gerontion"
• The search for "prime words": Pound, Duchamp, and the nominalist ethos
• "But isn't the same at least the same?" Wittgenstein on translation
• "Logocinéma of the frontiersman": Eugene Jolas's multilingual poetics and its legacies
• "The silence that is not silence": acoustic art in Samuel Beckett's radio plays
• Language poetry and the lyric subject: Ron Silliman's Albany, Susan Howe's Buffalo
• After language poetry: innovation and its theoretical discontents
• The invention of "concrete prose": Haroldo de Campos's Galaxias and after
• Songs of the earth: Ronald Johnson's verbivocovisuals
• The Oulipo factor: the procedural poetics of Christian Bök and Caroline Bergvall
• Filling the space with trace: Tom Raworth's "Letters from Yaddo"
• Teaching the "new" poetries: the case of Rae Armantrout
• Writing poetry/writing about poetry: some problems of affiliation.

Marjorie Perloff is one of the foremost critics of contemporary American poetry writing today. Regarded as highly accessible, her works are credited by many with creating and sustaining new critical interest not only in the work of major modernist poets such as Yeats, Pound, Eliot, and Williams but also in the postwar tradition of American poetic innovation that ranges from the Black Mountain poets, through the New York School and concrete poetry, to the Language Poets of the 1980s and '90s. In Differentials, Perloff explores and defends her belief in the power of close reading, a strategy often maligned as reactionary in today's critical climate but which, when construed "differentially, " is vital, she believes, to any true understanding of a literary or poetic work, irrespective of how traditional or experimental it is. Perloff also examines key issues in modernism, from Eliot's "conservative" poetics and Pound's nominalism to translation theory (Wirtgenstein, Eugene Joals, Haroldo de Campos), and the contemporary avant grade, as represented by writers like Susan Howe, Tom Raworth, Rae Armantrout, Ron Silliman, Ronald Johnson, Caroline Bergvall, and Kenneth Goldsmith. Ultimately, Perloff's most important offerings in Differentials are her remarkably original reflections on the aesthetic process: on how poetry works, and what it means, in and for our time.
(source: Nielsen Book Data)

• The spell of far Arabia: James Elroy Flecker's Islamic Near East
• The ends of the earth: Rudyard Kipling's Afghanistan
• The exotic transgressions of 'Laurence Hope'
• Everybody's anima: Sarojini Naidu as nightingale and nationalist
• The Tagore era
• The childhood that never was: Rupert Brooke's primitive paradise
• The infant Gargantua on the wet, black bough: Ezra Pound's Chinese object relations
• The red man in the drawing room: T.S. Eliot and the nativists
• The last nostalgia: Wallace Stevens in the shadow of the other
• Forgotten jungle songs: ambivalent primitivisms of the Harlem Renaissance.

In The Idea of a Colony, Edward Marx provides a comprehensive approach to the question of cross-culturalism in modern poetry. He situates the work of canonical British and American modernist poets - Eliot, Pound, Stevens, Brooke, Kipling, and Flecker - in dialogue with the work of non-Western, colonial, and minority poets - Tagore, Naidu, Violet Nicolson - and brings into the discussion the poets of the Harlem Renaissance. Drawing on psychological and cultural theory, Marx argues that primitivism and exoticism were the main forms of cross-culturalism in the modern period, and that these forms were organized around repression of the unconscious and irrational. To the psychological scene of the primitive/exotic poem and its reception, which is explored through substantial archival research, Marx brings an array of approaches including the theories of Freud, Jung, Lacan, Said, Foucault, Bhabha, Fanon, and others. The result is a series of powerful new readings of canonical modernists and a welcome expansion of the field of modern poetry into the age of multiculturalism and postcoloniality.
(source: Nielsen Book Data)

• pt.
• 1. The sign of history: Kant and Lyotard, Wordsworth. "As if" history--Kant, then and now. Naming history: Wordsworth
• pt.
• 2. Bordering the political: Kleist. Legal matter: Der zerbrochne Krug. Borders, crossing: Die Hermannsschlacht
• pt.
• 3. The debts of history: Shelley and Yeats. Crossing culture: The last man. A specular nation: Yeats's myth of the Irish
• Threats, responses: an afterword.

• PROLOGUE: The Iliad's Two Wars 1 The Proem 1 When Achilles Disappears: A Reading of Book 2 3 The Death of Lykaon 8 INTRODUCTION: Characterization and Distribution 12 Character-Space: Between Person and Form 12 Characterization and the Antinomies of Theory 14 "They Too Should Have a Case" 21 Two Kinds of Minorness 24 Function and Alienation: The Labor Theory of Character 26 Realism, Democracy, and Inequality 30 Austen, Dickens, Balzac: Character-Space in the Nineteenth-Century Novel 32 The Minor Character: Between Story and Discourse 37 CHAPTER ONE: Narrative Asymmetry in Pride and Prejudice 43 Minor Characters in a Narrative Structure 43 The Double Meaning of Character 50 The One vs. the Many 56 Asymmetry: From Discourse to Story 62 Characterizing Minorness
• 1: Compression 68 The Space of the Protagonist
• 1: Elizabeth's Consciousness 77 Characterizing Minorness
• 2: Externality 82 Helpers: Charlotte Lucas and the Actantial Theory 88 The Space of the Protagonist
• 2: Elizabeth's Self-Consciousness 97 Wickham: "How He Lived I Know Not" 103 Minor Minor Characters: Representing Multiplicity 116 CHAPTER TWO: Making More of Minor Characters 125 Distorted Characters and the Weak Protagonist 125 Between Jingle and Joe: Asymmetry and Misalignment in The Pickwick Papers 133 Seeing into Sight: Mr. Elton and Uriah Heep 143 Partial Visibility and Incomplete Vision: The Appearance of Minor Characters 149 Repetition and Eccentricity: Minor Characters and the Division of Labor 155 "Monotonous Emphasis": Minorness and Three Kinds of Repetition 167 CHAPTER THREE: Partings Welded Together: The Character-System in Great Expectations 177 Between Two Roaring Worlds: Exteriority and Characterization 177 The Structure of Childhood Experience 188 Interpreting the Character-System: Signification, Position, Structure 194 Metaphor, Metonymy, and Characterization 198 Getting to London 207 Three Narrative Workers and the Dispersion of Labor in Great Expectations 213 Wemmick as Helper (the Functional Minor Character) 214 Magwitch's Return (the Marginal Minor Character) 217 Orlick and Social Multiplicity (the Fragmented Minor Character) 224 The Double: A Narrative Condition? 238 CHAPTER FOUR: A qui la place?: Characterization and Competition in Le Pere Goriot and La Comedie humaine 244 Typification and Multiplicity 244 The Problem: Who Is the Hero? 244 Character, Type, Crowd 246 Balzac's Double Vision 255 The Character-System in Le Pere Goriot 260 La belle loi de soi pour soi 260 Goriot: The Interior as Exterior 265 Rastignac: The Exterior as Interior 267 Between the Exterior and the Interior 272 Interiority and Centrality in Le Pere Goriot and King Lear 282 The Shrapnel of Le Pere Goriot 288 Recurring Characters, Le Pere Goriot, and the Origins of La Comedie humaine 288 The Social Representation of Death: Le Pere Goriot and Le Cousin Pons 295 Cogs in the Machine: Les Poiret between Le Pere Goriot and Les Employees 303 Competition and Character in Les Employees 308 AFTERWORD: Sophocles's Oedipus Rex and the Prehistory of the Protagonist 319 Notes 337 Works Cited 375 Acknowledgments 383 Index 385.
• (source: Nielsen Book Data)

Does a novel focus on one life or many? Alex Woloch uses this simple question to develop a powerful new theory of the realist novel, based on how narratives distribute limited attention among a crowded field of characters. His argument has important implications for both literary studies and narrative theory. Characterization has long been a troubled and neglected problem within literary theory. Through close readings of such novels as Pride and Prejudice, Great Expectations, and Le Pere Goriot, Woloch demonstrates that the representation of any character takes place within a shifting field of narrative attention and obscurity. Each individual--whether the central figure or a radically subordinated one--emerges as a character only through his or her distinct and contingent space within the narrative as a whole. The "character-space, " as Woloch defines it, marks the dramatic interaction between an implied person and his or her delimited position within a narrative structure. The organization of, and clashes between, many character-spaces within a single narrative totality is essential to the novel's very achievement and concerns, striking at issues central to narrative poetics, the aesthetics of realism, and the dynamics of literary representation. Woloch's discussion of character-space allows for a different history of the novel and a new definition of characterization itself. By making the implied person indispensable to our understanding of literary form, this book offers a forward-looking avenue for contemporary narrative theory.
(source: Nielsen Book Data)

• Contents: The Invention of Theatricality Richard Wagner The Modernist Closet DramaStephane Mallarme James Joyce Gertrude Stein The Diegetic TheaterWilliam Butler Yeats Bertolt Brecht Samuel Beckett.
• (source: Nielsen Book Data)

Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama-a theatrical piece intended to be read rather than staged-whose long-overlooked significance Puchner traces from the theatrical texts of Mallarme and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Noh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scene. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
(source: Nielsen Book Data)

• Introduction: Theoretical Approaches Definitions of Realism, The Historical Context, Acting and Character, Conventions and Perspectives, Key Themes, The Naturalistic Movement, Questioning The Canon
• 1. The Context of Naturalist Theatre: A Chronology
• 2. Contemporary Theories of Naturalism George Brandes and Henrik Ibsen, Emile Zola and Andre Antoine, Anton Chekov and Konstantin Stanislavsky, Bernard Shaw
• 3. Henrik Ibsen Social and Political Context: Documents, Ibsens Naturalistic Drama, A Dolls House: Documents, Chronology of Early Performances, Hedda Gabler: Documents, Chronology of Early Perfomances
• 4. Anton Chekhov Social and Political Context: Documents, Chekovs Naturalistic Drama, The Seagull: Documents, Chronology of Early Performances, The Cherry Orchard: Documents, Chronology of Early Performances
• 5. Bernard Shaw Social and Political Context: Documents, Shaws Naturalistic Drama, Mrs Warrens Profession: Documents, Chronology of Early Performances, Heartbreak House, Chronology of Early Performances Selected Critical Bibliography - Ibsen, Chekov, Shaw.
• (source: Nielsen Book Data)

A Sourcebook on Naturalist Theatre provides essential primary sources which document one of the key movements in modern theatre. Christopher Innes has selected three writers to exemplify the movement, and six plays in particular: * Henrik Ibsen - A Dolls House and Hedda Gabler * Anton Chekhov - The Seagull and The Cherry Orchard * George Bernard Shaw - Mrs Warren's Profession and Heartbreak House. Innes' introduction provides an overview of naturalist theatre. Key themes include: the representation of women, significant contemporary issues and the links between theory, play writing and stage practice. The primary sources explore many aspects of naturalism, giving information on: * the playwrights' intentions when writing plays * contemporary reviews * literary criticism * political and social background * production notes from early performances of the plays.
(source: Nielsen Book Data)

• ""Contents""; ""Preface""; ""Note on Texts and Citations""; ""1. Organic Sensibility""; ""2. Symbolic Perception""; ""3. Sublime or Mock Sublime?""; ""4. Wordsworth's Mighty World of Eye and Ear""; ""5. Coleridge's Blessed Interval""; ""6. Thoreau: A Purely Sensuous Life""; ""7. Whitman: The Feeling of Health""; ""8. Dickinson: The Glimmering Frontier""; ""9. Afterword: Two Victorian Seers""; ""Notes""; ""Works Cited""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M""; ""N""; ""O""; ""P""; ""R""; ""S""; ""T""; ""V""; ""W""; ""Z""

"McSweeney discusses the sensory acuity that informs the finest achievements of Wordsworth, Coleridge, Thoreau, Whitman, and Dickinson and which, when blunted by illness or age, contributes to an attenuation of their creative power. He supplies a "sensory profile" or sensory history for each author and through close readings shows how this profile affected their relationship to the external world and their powers of symbolic perception."--Jacket.

• The dangerous seduction of the past: Ibsen's counter-discourse to modernity / Brian Johnston
• Patterns of structure and character in Ibsen's Rosmersholm / Marvin Calrson
• Marriage, metaphsics and The Lady from the Sea problem / Elinor Fuch
• The unspoken text in Hedda Gabler / Evert Sprinchorn
• Ibsen's endgame: a reconsideration of When We Dead Awaken / M.S. Barranger
• Strindbeg and Ibsen; toward a cubism of time in drama / Benjamin K. Bennett
• Strindberg's Miss Julie and the legend of Salome / Brian Parker
• Strindberg's To Damascus: archetypal autobiography / Diane Filby Gillespie
• Pirandello's mirror / Marvin Rosenberg
• Pirandellian theatre games: spectator as victim / J.L. Styan
• An author in search of characters: Pirandello and commedia dell'arte / James Fisher
• Sicilian themes and the restructured stage: the dialectic of fiction and drama in the work of Luigi Pirandello / Anne Paolucci
• Six Characters: Pirandello's last tape / Andrew K. Kennedy
• Godotology: there's lots of time in Godot / Richard Schechner
• Action and play in Beckett's theater / John Fletcher
• Acting for Beckett / Ruby Cohn
• Beckett as director: the manuscript production notebooks and critical interpretation / James Knowlson
• Being and non-being: Samuel Beckett's Not I / Hersh Zeifman
• Samuel Beckett's media plays / Linda Ben-Zvi
• Reading as theatre: understanding defamiliarization in Beckett's art / H. Porter Abbott
• Roundelay / Samuel Beckett.

This collection of essays, drawn from scholarship over the last forty years, explores the drama of four of the most influential proponents of modernism in European Drama: Ibsen, Strindberg, Pirandello, and Beckett. Although there are other dramatists who also contributed to Modernism, these four illustrate widely different and contrasting aspects to the movement. Since discussions of Modernism are generally restricted to poetry, novels, or the fine arts (painting, sculpture), examining theatre from this perspective covers new ground. The choice of these four dramatists as the subjects of the volume reflects the large percentage of essays dealing with their work published by Modern Drama, the leading scholarly journal in the field, which in turn is a measure of the centrality of these particular playwrights in critical discourse. The essays here have been selected to cover the main elements of the work of each of the four dramatists, with the aim of creating a useful teaching tool for university courses. Since some of the essays selected go back to the 1960s, while others are very contemporary, this volume also offers a perspective on the historical development of critical theory.
(source: Nielsen Book Data)

• pt. 1. The Making of the Victorian Actress. 1. "Think of the power-" 2. Masculine panic and the panthers of the stage. 3. Actresses, managers, and feminized theatre
• pt. 2. Gender and Victorian Playwriting. 4. The impossibility of women playwrights. 5. Textual assaults: women's novels on stage. 6. Victorian plays by women
• pt. 3. Revolution. 7. Elizabeth Robins, Oscar Wilde, and the "Theatre of the Future."

Victorian women were exhilarated by the authoritative voice and the professional opportunity that, uniquely, the theatre offered them. Victorian men, anxious to preserve their dominance in this as in every other sphere of life, sought to limit the theatre as being distinctively, irrevocably masculine. Actresses were represented as inhuman monstrosities, not women at all. Furthermore, the executive functions of theatre-manager and playwright were carefully defined as requiring supposedly masculine qualities of mind and personality. A woman playwright came to be seen as an impossibility, although their number actually increased towards the close of the nineteenth century. In this book, Kerry Powell chronicles the development of women's participation in the theatre as playwrights, actresses and managers and explores the making of the Victorian actress, gender and playwriting of the period, and the contributions these made to developments in the following century.
(source: Nielsen Book Data)

• Introduction: Ekphrasis, Iconotexts, and Intermediality -- the State(s) of the Art(s) / Peter Wagner
• Ekphrasis and Theories of Reading Visual Representations. Iconolatrie de iconoclastie de l'ecriture libertine / Jean-Pierre Dubost. Ekphrasis as Art Criticism: Diderot and Fragonard's "Coresus and Callirhoe" / Bernadette Fort. Ekphrasis and the Mimetic Crisis of Romanticism / Frederick Burwick. Ecritures de l'image chez Theophile Gautier / Alain Montandon
• Iconotexts: The Eighteenth Century. Watteau: The Aesthetics of Pleasure / Catherine Cusset. Sterne and Fragonard: The Escapades of Death / Frederic Ogee. The Harlot, Her Father, and the Parson: Representing and Interpreting Hogarth in the Eighteenth Century / Ronald Paulson.

• ""Contents""; ""Preface""; ""Introduction""; ""1 Discovering the Past""; ""2 The Occult Tradition in The Cantos""; ""3 Nietzsche, Wagner, and Myth""; ""4 Pound's Editing of The Waste Land""; ""Conclusion""; ""Bibliography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M""; ""N""; ""O""; ""P""; ""Q""; ""R""; ""S""; ""T""; ""U""; ""V""; ""W""; ""Y""; ""Z""

In The Birth of Modernism Leon Surette offers a radical revision of our understanding of high modernism. Acknowledging that current post-modern and theoretical critiques have provoked fresh examination of the high culture of the first half of this century, Surette rejects their characterization of modernism as positivistic and absolutist, despite the statements in the 1920s of modernists such as Pound, Eliot, and Joyce. He also rejects the diametrically opposed New Critical view of modernism as sceptical and relativistic. Through an explanation of both familiar and little-known theoretical writings of the late nineteenth and early twentieth century - the work of Friedrich Nietzsche receives particular attention - Surette develops a portrait of modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism. His account is, in many ways, a revival of an early view of modernism as the heir of symbolisme, but Surette documents, for the first time, the origins of modernist aesthetics in the occult. Yeats' occultism has long been acknowledged, but this is the first study to show that Pound's early intimacy with Yeats was based largely on a shared interest in the occult sciences, and that Pound's epic of the modern age, The Cantos, is a deeply occult work. To substantiate these claims Surette formulates a theory of the occult and analyses the occult speculations of several of Pound's close associates during his London years, relating these to the work of influential Continental occultists and Wagnerians. The author also examines the place of myth and mythopoeia in modernist literature. He scrutinizes the complex provenance of the theories of myth, to which modernists and their apologists appeal, and demonstrates that positive anthropology, Nietzschean philology, Wagnerian opera, symbolisme, and occultism all contribute to the theories expressed by Pound and, to some extent, to Eliot's poetry. In light of these discoveries Surette considers Pound's editing of Eliot's The Waste Land and concludes that the work's early reception as an expression of scepticism and relativism has obscured aspects of the poem that are consistent with Eliot's earlier and later piety. Pound's ruthless cutting of the manuscript, Surette asserts, was not motivated primarily by stylistic concerns, as has generally been contended in the formalist arguments of the New Critics, but by thematic considerations. It was precisely because Eliot knew Pound to be well-informed about the occult that he asked far his assistance with The Waste Land.

• Introduction: Unspeakable plots
• Prelude: Origins and paradigms: Electra, Demeter, Clytemnestra
• Female family romances
• A more archaic murder: Freud, Austen, Brontes, Shelley, Sand, Chopin
• Fraternal plots
• Beyond repetition: Eliot
• The darkest plots
• Narration and the compulsory heterosexuality: Freud, Horney, Woolf, Colette, Wharton
• Feminist family romances
• Life before Oedipus: Rich, Chodorow, Irigaray, Atwood, Duras, Wolf
• Feminist Discourse-maternal discourse
• Speaking with two voices: Kristeva, Suleiman, Ruddick, Johnson, Morrison, Walker.

Mothers and daughters--the female figures neglected by classic psychoanalysis and submerged in traditional narrative--are at the center of this book. The novels of nineteenth- and twentieth-century women writers from the Western European and North American traditions reveal that the story of motherhood remains the unspeakable plot of Western culture. Focusing on the feminine and, more controversially, on the maternal, this book alters our perception of both the familial structures basic to traditional narrative--the Oedipus story--and the narrative structures basic to traditional representations of the family--Freud's family romance. Confronting psychoanalytic theories of subject-formation with narrative theories, Marianne Hirsch traces the emergence and transformation of female family romance patterns from Jane Austen to Marguerite Duras.
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• 1. General Preface (by Remak, Henry H.H.)--
• 2. Editor's Perface (by Garber, Frederick)--
• 3. Tradition and Background--
• 4. Romantic Irony and Cervantes (by Nelson Jr., Lowry)--
• 5. Sterne: Arabesques and Fictionality (by Garber, Frederick)--
• 6. National Manifestations--
• 7. The Theory of Irony in German Romanticism (by Behler, Ernst)--
• 8. The Practice of Irony in Early German Romanticism (by Immerwahr, Raymond)--
• 9. Modes of Romantic Irony in Nineteenth-Century France (by Bourgeois, Rene)--
• 10. The Ironic Recit in Portuguese Romanticism (by Lourdes A. Ferraz, Maria de)--
• 11. Imagination and Irony in English Romantic Poetry (by Thorlby, Anthony)--
• 12. Thorbecke and the Resistance to Irony in the Netherlands (by Van den Berg, Wim)--
• 13. Romantic Irony in Scandinavinan Literature (by Bisztray, George)--
• 14. Irony and World-Creation in the Work of Mihai Eminescu (by Calin, Vera)--
• 15. Romantic Irony in Nineteenth-Century Hungarian Literature (by Szegedy-Maszak, Mihaly)--
• 16. Romantic Irony in Polish Literature and Criticism (by Mozejko, Edward)--
• 17. Pushkin, Lermontov, Gogol: Ironic Modes in Russian Romanticism (by Struc, Roman S.)--
• 18. Romantic Irony and the Southern Slavs (by Dimic, Milan V.)--
• 19. The Development of Romantic Irony in the United States (by Thompson, G.R.)--
• 20. Syntheses--
• 21. Romantic Irony and Narrative Stance (by Frust, Lilian)--
• 22. Musical Forms of Romantic Irony (by Barricelli, Jean-Pierre)--
• 23. Romantic Irony and the Grotesque (by Gillespie, Gerald)--
• 24. Romantic Irony in Modern Anti-Theater (by Gillespie, Gerald)--
• 25. Coda: Ironies, Domestic and Cosmopolitan (by Garber, Frederick)--
• 27. Bibliography--
• 28. Index.
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This is the first collaborative international reading of irony as a major phenomenon in Romantic art and thought. The volume identifies key predecessor moments that excited Romantic authors and the emergence of a distinctly Romantic theory and practice of irony spreading to all literary genres. Not only the influential pioneer German, British, and French varieties, but also manifestations in northern, eastern, and southern parts of Europe as well as in North America, are considered. A set of concluding "syntheses" treat the shaping power of Romantic irony in narrative modes, music, the fine arts, and theater - innovations that will deeply influence Modernism. Thus the cross-cultural and interdisciplinary approach elaborated in the twenty chapters of Romantic Irony, as lead volume in the five-volume Romanticism series, establishes a significant new range for comparative literature studies in dealing with a complex literary movement. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of "irony" as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the "Old" and "New" Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
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• Morality, poetry, and criticism
• Death and two maidens
• Home and away
• Sherlock Holmes, order, and the late-Victorian mind
• J.R.R. Tolkien: the monsters and the critics
• Robert Frost's marriage group
• Padraic Pearse: the revolutionary as artist
• Czeslaw Milosz: the exile as Californian
• Explorations of America.

• Frontmatter
• Contents
• Preface
• Acknowledgments
• ONE. Art Autonomy for the Elect
• TWO. Places for the Mind
• THREE. The Internalization of Energy
• FOUR. Egotism, Empathy, Irony
• FIVE. The Adequacy of the Imagination
• SIX. Self, Society, Value
• SEVEN. The Landscape of Desire
• EIGHT. Parity and Proportion
• NINE. Centers of Nostalgia
• TEN. Nocuous Nourishment
• Notes
• Translations
• Index.

Frederick Garber studies in a wide range of English, French, German, and American literary texts instances of the struggle for the self's autonomy during the period preceding modernism. In tracing a pattern that changes from the unsettling of bourgeois conditions in Richardson to the collapse of that challenge in the Decadents, he demonstrates that this period is characterized by a pervasive dialectic of aloofness and association. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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