James Simpson and Brian Cummings (eds)
This title is part of the the Oxford Twenty-First Century Approaches to Literature series, edited by Paul Strohm. This book examines cultural history and cultural change in the period between the fourteenth and the seventeenth centuries, a period spanning the medieval and Renaissance. It takes a dynamically diachronic approach to cultural history and brings the perspective of a longue durée to literary history. It redraws historical categories and offers a fresh perspective on historical temporality by challenging the stereotypes that might encourage any iconographic division between medieval and Renaissance modes of thinking. It also discusses the concept of nation in relation to three issues that have particular relevance to cross-period “cultural reformations”: modernity, language, and England and Englishness. The book is organized into nine sections: Histories, Spatialities, Doctrines, Legalities, Outside the Law, Literature, Communities, Labor, and Selfhood. Each contributor focuses on a theme that links pre- and post-Reformation cultures, from anachronism and place to travel, vernacular theology, conscience, theater, monasticism, childbirth, passion, style, despair, autobiography, and reading. The essays highlight the creative and destructive anxieties as well as the legacy of the Reformation.
Henry S. Turner (ed.)
The original essays in Oxford Twenty-First Century Approaches to Literature mean to provoke rather than reassure, to challenge rather than codify. Instead of summarizing existing knowledge scholars working in the field aim at opening fresh discussion; instead of emphasizing settled consensus they direct their readers to areas of enlivened and unresolved debate. Following the models established by previous volumes in the series, Early Modern Theatricality launches a new generation of scholarship on early modern drama by focusing on the rich formal capacities of theatrical performance. The collection gathers some of the most innovative critics in the field to examine the techniques, objects, bodies, and conventions that characterized early modern theatricality, from the Tudor period to the Restoration. Taking their cues from a series of guiding keywords, the contributors identify the fundamental features of theatricality in the period, using them to launch conceptually adventurous arguments that provoke our rediscovery of early modern drama in all its complexity and inventiveness.
Laura Marcus, Michèle Mendelssohn, and Kirsten E. Shepherd-Barr (eds)
This volume opens up, in new and innovative ways, a range of dimensions, some familiar and some more obscure, of late Victorian and modern literature and culture, primarily in British contexts. Our volume’s title, Late Victorian into Modern, emphasises the in-between: the gradual changeover from one period to the next. This approach enables us to examine shared developments and to point out continuities rather than ruptures. The volume explores and exploits an understanding of the late 19th to the early 20th centuries as a cultural moment in which new knowledges were forming with particular speed and intensity. Our contributors include both established and emerging scholars of the literature and culture of the period. The organising principle of this book is to retain a key focus on literary texts, broadly understood to include familiar categories of genre as well as extra-textual elements such as press and publishing history, performance events and visual culture, while remaining keenly attentive to the inter-relations between text and context in the period. Individual chapters explore such topics as Celticism, the New Woman, popular fictions, literatures of empire, aestheticism, periodical culture, political formations, avant-garde poetics, and theatricality.
Paul Strohm (ed.)
This title is part of the the Oxford Twenty-First Century Approaches to Literature series, edited by Paul Strohm. This book evaluates different approaches to Middle English literature, with special emphasis on the new, promising, and previously unexplored. It focuses on works of “major authors” such as Geoffrey Chaucer and William Langland, but also on many little-known and neglected texts. It looks at general conditions of textual production and reception, and explores how medieval processes of textual transmission have affected the reception and interpretation of medieval literature. It also discusses the relationship, both symbiotic and challenging, between medieval manuscripts and the modern canon, covering such subjects as multilinguality, the role of audience, translation, transmission, and periodization itself in considering the literature of previous eras. The book is organized into four sections: Conditions and Contexts, Vantage Points, Textual Kinds and Categories, and Writing and the World. Each essay focuses on a theme ranging through such matters as authority, form, imaginative theory, liturgy, drama, incarnational (auto)biography, vernacular theology, heresy, gossip, authorship, and humanism. Contributors tackle topics such as form, genre, the movement from script to print, the orality and aurality of medieval culture, and relationships between beauty, aesthetics, and literary genre.
Thomas Leitch (ed.)
This collection of forty original essays reflects on the history of adaptation studies, surveys the current state of the field, and maps out possible futures that mobilize its unparalleled ability to bring together theorists and practitioners in different modes of discourse. Grounding contemporary adaptation studies in a series of formative debates about what adaptation is, whether its orientation should be scientific or aesthetic, and whether it is most usefully approached inductively, through close analyses of specific adaptations, or deductively, through general theories of adaptation, the volume, not so much a museum as a laboratory or a provocation, aims to foster, rather than resolve, these debates. Its seven parts focus on the historical and theoretical foundations of adaptation study, the problems raised by adapting canonical classics and the aesthetic commons, the ways different genres and presentational modes illuminate and transform the nature of adaptation, the relations between adaptation and intertextuality, the interdisciplinary status of adaptation, and the issues involved in professing adaptation, now and in the future. Embracing an expansive view of adaptation and adaptation studies, it emphasizes the area’s status as a crossroads or network that fosters interactive exchange across many disciplines and advocates continued debate on its leading questions as the best defense against the possibilities of dilution, miscommunication, and chaos that this expansive view threatens to introduce to a burgeoning field uniquely responsive to the contemporary textual landscape.
Jeffrey H. Richards and Heather S. Nathans (eds)
This volume explores the history of American drama from the eighteenth to the twentieth century. It describes origins of early republican drama and its evolution during the pre-war and post-war periods. It traces the emergence of different types of American drama including protest plays, reform drama, political drama, experimental drama, urban plays, feminist drama and realist plays. This volume also analyzes the works of some of the most notable American playwrights including Eugene O’Neill, Tennessee Williams, and Arthur Miller and those written by women dramatists.
Simon J. Bronner (ed.)
This handbook surveys the materials, approaches, and contexts of American folklore and folklife studies to guide folklorists and students/scholars of American culture, history, and society through more than 350 years of work in the subject. To cover the contextual and behavioral aspects as well as textual materials of American folklore and folklife studies, the handbook contains 43 chapters under four major headings of (1) background, theory, and practice, (2) genres, processes, and practitioners, (3) settings, contexts, and institutions, and (4) groups, networks, and communities. In addition to longstanding areas of cultural study such as folktales and speech, the handbook includes areas that have emerged in the twenty-first century such as the Internet, poetry slams, sexual orientations and practices, neurodiverse identities (e.g., Aspies), disability groups (e.g., deaf), and bodylore. The result is a reference work that serves as both a survey of folklore and folklife studies as they have been practiced and a guide to their future. American folklore and folklife studies are crucial to the identification and interpretation of culture in relation to global patterns. These studies encompass cultural traditions in the United States ranging from bits of slang in conversation to massive holiday celebrations, ancient beliefs to contemporary viral memes, and a simple handshake greeting to an elaborate handclapping game. Folklore and folklife studies include material traditions such as buildings and crafts as well as oral and social genres of dance, ritual, and play. Whereas the use of lore often emphasizes speech, song, and story that all people express, the rhetoric of life draws attention to tradition-centered communities such as the Amish and Hasidim and their workaday worlds. Although influenced by European precedents in the eighteenth century, American folklorists have studied cultural evidence and taken approaches that have been distinctive in global work on folklore and folklife. Significant to this development has been the cultural diversity and changing national boundaries of the United States, relative youth of the nation and its legacy of mass immigration, mobility of residents and their relation to an indigenous and racialized population, and a varied landscape and settlement pattern. The handbook is a reference, therefore, to American studies as well as the global study of tradition, folk arts, and cultural practice.
Keith Newlin (ed.)
The Oxford Handbook of American Literary Naturalism takes stock of the best research in this field through twenty-eight articles drawing upon scholarship in literary and cultural studies. The articles offer an in-depth reassessment of writers from Stephen Crane, Frank Norris, Theodore Dreiser, and Jack London to Kate Chopin, Edith Wharton, Ernest Hemingway, Richard Wright, John Steinbeck, Joyce Carol Oates, and Cormac McCarthy. One set of articles focus on the genre itself, exploring the historical contexts that gave birth to it, the problem of definition, its interconnections with other genres, the scientific and philosophical ideas that motivate naturalist authors, and the continuing presence of naturalism in twenty-first century fiction. Other articles examine the tensions within the genre—the role of women and African-American writers, depictions of sexuality, the problem of race, and the critique of commodity culture and class. A final set of articles looks beyond the works to consider the role of the marketplace in the development of naturalism, the popular and critical response to the works, and the influence of naturalism in the other arts. The articles go beyond discussing the familiar figures of late nineteenth- and early twentieth-century naturalism to show the continuing presence of naturalism in more recent writing. In addition, to Dreiser, Crane, and Howells, the volume also considers the work of Dashiell Hammett, and Don DeLillo.
Waïl S. Hassan (ed.)
The Oxford Handbook of Arab Novelistic Traditions traces the emergence of the Arabic novel in the second half of the nineteenth century and its development to the present, both in Arabic-speaking countries and in Arab immigrant destinations around the world. Several chapters consider the ways in which the Arabic novel arose from a syncretic merger between Arabic and European forms and techniques, rather than being a simple importation of the latter and rejection of the former, as earlier scholars claimed. Topics range from theories of the Arabic novel to the link between the novel and history, the influence of the maqāma and other classical and popular Arabic narrative genres on the modern novel, translations and adaptations from the European novel, and women's contributions to the rise of the Arabic novel. Other chapters examine the development of the Arabic novel as it has taken root in every Arab country, and the emergence of the multilingual Arab novel as written both in the Arab world and by Arab immigrants and their descendants across the world. What emerges from this comprehensive survey, in its broad historical and geographical dimensions, is a highly complex image of Arab novelistic traditions as a global literary phenomenon.
Eugene Giddens (ed.)
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