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.
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.
Jay Williams (ed.)
Robert Scholes and Clifford Wulfman define modernism and modernity this way: “Modernity is a social condition. Modernism was a response to that condition.” Modernity “is an urban condition” “reached in certain parts of the world in the late nineteenth century … a mass phenomenon” characterized by the rise of technology, print culture, and material consumption. Jack London, who is routinely categorized as a naturalist and realist, can also be called a modernist. The word modern appears often in the pages of this handbook, and though it is not new to call London a modernist, the breadth of scholarship in this present volume gives the categorization new meaning. This isn’t to deny London’s status as a realist/naturalist but only a way to recognize he was much more than that. London called his era the Machine Age and created his role of political artist to respond to it. Thus the other emphasis in the handbook is on the intersection of his politics and his art. London was concerned with instigation and shock. He wasn’t a propagandist, he was a troublemaker. In both fiction and nonfiction—a binary he did not recognize—he exposed the fallacies of capitalist society. As both a nationally recognized public figure and a citizen of the world, he chose to instruct his audience in novels, short stories, essays, speeches, and newspaper reports. This handbook ultimately emphasizes the artist Jack London bringing change to the world.
Jack Lynch (ed.)
In the most comprehensive and up-to-date overview of the poetry published in Britain between the Restoration and the end of the eighteenth century, forty-four authorities from six countries survey the poetry of the age in all its richness and diversity—serious and satirical, public and private, by men and women, nobles and peasants, whether published in deluxe editions or sung on the streets. The contributors discuss poems in social contexts, poetic identities, poetic subjects, poetic form, poetic genres, poetic devices, and criticism. Even experts in eighteenth-century poetry will see familiar poems from new angles, and all readers will encounter poems they've never read before. The book is not a chronologically organized literary history, nor an encyclopedia, nor a collection of thematically related essays; rather it is an attempt to provide a systematic overview of these poetic works, and to restore it to a position of centrality in modern criticism.
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.
Michael Neill and David Schalkwyk (eds)
The Oxford Handbook of Shakespearean Tragedy is a collection of fifty-four essays by a range of scholars from all parts of the world, bringing together some of the best-known writers in the field with a strong selection of younger Shakespeareans. Together these essays offer readers a fresh and comprehensive understanding of Shakespeare tragedies as both works of literature and as performance texts written by a playwright who was himself an experienced actor. The collection is organized in five sections. The opening section places the plays in a variety of illuminating contexts, exploring questions of genre, and examining ways in which later generations of critics have shaped our idea of ‘Shakespearean’ tragedy. The second section is devoted to current textual issues; while the third offers new critical readings of each of the tragedies. This is set beside a group of essays that deal with performance history, with screen productions, and with versions devised for the operatic stage, as well as with twentieth and twenty-first century re-workings of Shakespearean tragedy. The book’s final section seeks to expand readers’ awareness of Shakespeare’s global reach, tracing histories of criticism and performance across the world. Offering the richest and most diverse collection of approaches to Shakespearean tragedy currently available, the Handbook will be an indispensable resource for students, both undergraduate and graduate levels, while the lively and provocative character of its essays will make it a required reading for teachers of Shakespeare everywhere.
Valerie Traub (ed.)
The forty established and emerging scholars whose work is included in this volume bring an expansive understanding of feminism to questions of embodiment in Shakespeare and early modern studies. Using a diverse range of methods—historicism, psychoanalysis, queer theory, critical race studies, postcolonialism, posthumanism, eco-criticism, animal studies, disability studies, textual editing, performance and media studies—they present original readings of Shakespeare’s plays and poems while situating his work both in the early modern period and the present day. Paying particular attention to the intersections of gender with race and sexuality, the volume collectively offers an exciting snapshot of the ways that ‘feminism’ and ‘Shakespeare’ continue to speak to and challenge each another.
Nicholas Grene and Chris Morash (eds)
The familiar narrative in this field has focused on playwrights: from the foundational work of W. B. Yeats, Augusta Gregory, and J. M. Synge of the early twentieth-century national theatre movement to contemporary figures such as Martin McDonagh, Marina Carr, and Enda Walsh, sometimes including Oscar Wilde, Bernard Shaw, and Samuel Beckett. These playwrights are all given detailed analysis in this volume, while extending the conspectus to the full phenomenon of modern Irish theatre. Two sections of the book are devoted to performance, examining the neglected work of directors and designers, as well as exploring acting styles and playing spaces. While the Abbey, as Ireland’s national theatre, has been of central importance, individual chapters bring out the contesting voices of women in a male-dominated arena, the position of Irish-language theatre, and ‘little theatres’ that challenged the hegemony of the Abbey. The middle of the twentieth century saw what amounted to a new revival of Irish drama with the emergence of a generation of playwrights responding in innovative ways to a modernizing Ireland, again diversified by the establishment of regional companies and alternative dramaturgical directions from the 1970s. The contemporary period in Irish theatre has featured a movement beyond scripted plays to more experimental work. The impact and interactions of Irish theatre are finally placed within the wider world of the United Kingdom, Europe, and the United States. The forty-one chapters of the volume offer the most comprehensive analysis to date of modern Irish theatre.
Carlos Rojas and Andrea Bachner (eds)
Rather than attempt to offer a definition of modern Chinese literature or provide a comprehensive survey of all that the category might entail, this volume instead uses a series of strategic interventions to illustrate the structural conditions out of which modern Chinese literature has emerged, how it is viewed, and how it may be interpreted. Our goal, in other words, is to showcase a set of methodologies that one may use to approach modern Chinese literature, while in the process offering different ways of reassessing what modern Chinese literature is in the first place. We contend that modern Chinese literature is not a static category but rather it is a dynamic entity whose significance and limits are continually being reshaped through the process of interpretation itself. Similarly, modern Chinese literature is not a singular, unitary category, but rather a plurality of overlapping categories—of modern Chinese literatures. Divided into three parts, on “structure,” “taxonomy,” and “methodology,” this volume contains 46 original articles that examine unfamiliar texts and literary phenomena and offer new perspectives on more familiar ones.
Malcolm Smuts (ed.)
This handbook presents a broad sampling of current historical scholarship on Shakespeare’s period that it is hoped will prove useful to scholars of his poems and plays. Rather than attempting to summarize the historical ‘background’ to Shakespeare, individual chapters explore numerous topics and methodologies at the forefront of current historical research. An initial cluster shows how political history has expanded beyond a traditional focus on relations between Crown and Parliament to encompass attention to attempts by the government to manage opinion; military challenges; problems in subduing Ireland and mediating relations between the British kingdoms; and the interplay between national affairs and local factions and concerns. Additional chapters deal with relationships between intellectual culture and political imagination, with detailed attention to varieties of early modern historical thought and the emergence of a ‘public sphere’. Other contributors examine facets of religious and social history, including scriptural translation, concepts of the devil, cultural attitudes concerning honour, shame and emotion, and life in London. A final section deals with vernacular architecture, Renaissance gardens, visual culture and theatrical music.
Paul Hamilton (ed.)
This volume in the Oxford Handbook series is on the subject of European Romanticism, an intellectual, literary, philosophical, and political movement usually described as taking place between 1789 and 1848. The book first examines texts written by major writers in different European languages: French, German, Italian, Spanish, Russian, Hungarian, Greek, Polish, and Scandinavian. Chapters on these are written by leading scholars in the field. Then follows a second section elaborating the naturally interdisciplinary quality of Romanticism, encapsulated by the different discourses with which writers of the time set up an internal comparative dynamic. The chapters are written by specialists to highlight the sense a discourse gives of being written knowledgeably against other pretenders to completeness or comprehensiveness of understanding. Romantic variety of this kind is also typically written against the Enlightenment project of an Encyclopedia cast as a literal inventory rather than a conversation in which different views of the world figure each other. Discourses push their individual claims to resume European culture, collaborating and trying to assimilate each other in the process. The main examples here are history, geography, drama, theology, language, philosophy, political theory, the sciences, and the media. The chapters are original interpretations of aspects of an inherently interactive world of individual writers and the discursive idioms to which they are historically subject but which grant them unusual articulacy as well.
Fred Hobson and Barbara Ladd (eds)
This collection brings together contemporary views of the literature of the U.S. South in a series of essays employing critical tools not traditionally used in approaching southern literature. It assumes ideas of the South—global, multicultural, plural: more Souths than South—that would not have been embraced as recently as the 1970s or 1980s, and it similarly expands the idea of southern literature itself. Representative of the current range of activity in the field of southern literary studies, it challenges earlier views of writing in the South from Contact through the nineteenth century, and, in its discussions of twentieth-century writing, questions the assumption that the southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of southern expression, the writing to which all that had come before had led, and by which all that came afterward should be judged. As well as canonical southern literature, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field. We intend for this volume to contribute significantly to the reevaluation of southern literatures.
Philippe Desan (ed.)
In 1580, Michel de Montaigne (1533–1592) published a book unique in its title and in its content: Essays. A literary genre was born. At first sight, the Essays resemble a patchwork of personal reflections, but they engage with questions that animate the human mind, and they tend toward a single goal: to live better in the present and to prepare for death. For this reason, Montaigne’s thought and writings have been a subject of enduring interest across disciplines. This Handbook brings together essays by prominent scholars, who examine Montaigne’s literary, philosophical, and political contributions and who assess his legacy and relevance today in a global perspective. The chapters of this Handbook offer a sweeping study of Montaigne across different disciplines and in a global perspective. One section covers the historical Montaigne, situating his thought in his own time and space, notably the Wars of Religion in France. The political, historical, and religious context of Montaigne’s Essays requires a rigorous presentation to inform the modern reader of the issues and problems that confronted Montaigne and his contemporaries in his own time. In addition to this contextual approach to Montaigne, the Handbook establishes a connection between Montaigne’s writings and issues and problems directly relevant to our modern times, that is to say, our age of global ideology. Montaigne’s considerations, or essays, offer a point of departure for the modern reader’s own assessments. The Essays analyze what can be broadly defined as human nature, the seemingly never-ending process by which the individual tries to impose opinions upon others through the production of laws, policies, or philosophies. Montaigne’s motto—“What do I know?”—is a simple question yet one of perennial significance. One could argue that reading Montaigne today teaches us that the angle by which we view our lives defines the world we see, or, as Montaigne wrote: “What matters is not merely that we see the thing, but how we see it.”
Cynthia Sugars (ed.)
The Oxford Handbook of Canadian Literature provides a broad-ranging introduction to some of the key critical fields, genres, and periods in Canadian literary studies. The chapters in this volume, written by prominent theorists in the field, reflect the plurality of critical perspectives, regional and historical specializations, and theoretical positions that constitute the field of Canadian literary criticism across a range of genres and historical periods. The volume provides a dynamic introduction to current areas of critical interest, including (1) attention to the links between the literary and the public sphere, encompassing such topics as neoliberalism, trauma and memory, citizenship, material culture, literary prizes, disability studies, literature and history, digital cultures, globalization studies, and environmentalism or ecocriticism; (2) interest in Indigenous literatures and settler-Indigenous relations; (3) attention to multiple diasporic and postcolonial contexts within Canada; (4) interest in the institutionalization of Canadian literature as a discipline; (5) a turn toward book history and literary history, with a renewed interest in early Canadian literature; (6) a growing interest in articulating the affective character of the “literary”—including an interest in affect theory, mourning, melancholy, haunting, memory, and autobiography. The book represents a diverse array of interests—from the revival of early Canadian writing, to the continued interest in Indigenous, regional, and diasporic traditions, to more recent discussions of globalization, market forces, and neoliberalism. It includes a distinct section dedicated to Indigenous literatures and traditions, as well as a section that reflects on the discipline of Canadian literature as a whole.
Richard Gravil and Daniel Robinson (eds)
The Oxford Handbook of William Wordsworth deploys its forty-eight essays, by an international team of scholar-critics, to present a stimulating account of Wordsworth’s life and achievement and to map new directions in criticism. Nineteen essays on the exceptional variety of his poetry explore systematically the highlights of a long career, giving special prominence to the lyric Wordsworth of Lyrical Ballads and the Poems, in Two Volumes, and the blank verse poet of ‘The Recluse’. Most of the other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet, including his friendships and networks, and his critical and political prose. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship. This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth’s life, career and networks; aspects of the major lyrical and narrative poetry; components of ‘The Recluse’; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture through his intellectual legacy in such fields as gender, landscape, psychology, ethics, politics, religion and ecology; and his 19th- and 20th-century reception—most importantly by poets, but also in modern criticism and scholarship. It offers the fullest treatment of Wordsworth’s poetic career imaginable in a single volume.
Kevin Killeen, Helen Smith, and Rachel Willie (eds)
The Bible was, by any measure, the most important book in early modern England. It preoccupied the scholarship of the era, and suffused the idioms of literature and speech. Political ideas rode on its interpretation and deployed its terms. It was intricately related to the project of natural philosophy. And it was central to daily life at all levels of society from parliamentarian to preacher, from the ‘boy that driveth the plough’, famously invoked by Tyndale, to women across the social scale. It circulated in texts ranging from elaborate folios to cheap catechisms; and it was mediated in numerous forms, as pictures, songs, and embroideries; and as proverbs, commonplaces, and quotations. Bringing together leading scholars from a range of fields, The Oxford Handbook of the Bible in England, c.1530–1700 explores how the scriptures served as a generative motor for ideas, and a resource for creative and political thought, as well as for domestic and devotional life. Sections tackle the knotty issues of translation, the rich range of early modern biblical scholarship, Bible dissemination and circulation, the changing political uses of the Bible, literary appropriations and responses, and the reception of the text across a range of contexts and media. Where existing scholarship focuses, typically, on Tyndale and the King James Bible of 1611, The Oxford Handbook of the Bible in England, c.1530–1700 goes further, tracing the vibrant and shifting landscape of biblical culture in the two centuries following the Reformation.
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.
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.
Lisa Zunshine (ed.)
The Oxford Handbook of Cognitive Literary Studies considers, via a variety of methodologies and combinations of interdisciplinary approaches, how the architecture that enables human cognitive processing interacts with cultural and historical contexts. Organized into five parts (Narrative, History, and Imagination; Emotions and Empathy; The New Unconscious; Empirical and Qualitative Studies of Literature; and Cognitive Theory and Literary Experience), the volume considers case studies from a wide range of historical periods (from the fourth century BCE to the twenty-first century) and national literary traditions (including South Asian, postcolonial anglophone and francophone, Chinese, Japanese, English, Iranian, Russian, Italian, French, German, and Spanish).
James H. Cox and Daniel Heath Justice (eds)
This book explores Indigenous American literature and the development of an inter- and trans-Indigenous orientation in Native American and Indigenous literary studies. Drawing on the perspectives of scholars in the field, it seeks to reconcile tribal nation specificity, Indigenous literary nationalism, and trans-Indigenous methodologies as necessary components of post-Renaissance Native American and Indigenous literary studies. It looks at the work of Renaissance writers, including Louise Erdrich’s Tracks (1988) and Leslie Marmon Silko’s Sacred Water (1993), along with novels by S. Alice Callahan and John Milton Oskison. It also discusses Indigenous poetics and Salt Publishing’s Earthworks series, focusing on poets of the Renaissance in conversation with emerging writers. Furthermore, it introduces contemporary readers to many American Indian writers from the seventeenth to the first half of the nineteenth century, from Captain Joseph Johnson and Ben Uncas to Samson Occom, Samuel Ashpo, Henry Quaquaquid, Joseph Brant, Hendrick Aupaumut, Sarah Simon, Mary Occom, and Elijah Wimpey. The book examines Inuit literature in Inuktitut, bilingual Mexicanoh and Spanish poetry, and literature in Indian Territory, Nunavut, the Huasteca, Yucatán, and the Great Lakes region. It considers Indigenous literatures north of the Medicine Line, particularly francophone writing by Indigenous authors in Quebec. Other issues tackled by the book include racial and blood identities that continue to divide Indigenous nations and communities, as well as the role of colleges and universities in the development of Indigenous literary studies.
Rob Latham (ed.)
The Oxford Handbook of Science Fiction attempts to descry the historical and cultural contours of SF in the wake of technoculture studies. Rather than treating the genre as an isolated aesthetic formation, it examines SF’s many lines of cross-pollination with technocultural realities since its inception in the nineteenth century, showing how SF’s unique history and subcultural identity have been constructed in ongoing dialogue with popular discourses of science and technology. The volume consists of four broadly themed parts, each divided into eleven chapters. Part I, “Science Fiction as Genre,” considers the internal history of SF literature, examining its characteristic aesthetic and ideological modalities, its animating social and commercial institutions, and its relationship to other fantastic genres. Part II, “Science Fiction as Medium,” presents a more diverse and ramified understanding of what constitutes the field as a mode of artistic and pop-cultural expression, canvassing extra-literary manifestations of SF ranging from film and television to video games and hypertext to music and theme parks. Part III, “Science Fiction as Culture,” examines the genre in relation to cultural issues and contexts that have influenced it and been influenced by it in turn, the goal being to see how SF has helped to constitute and define important (sub)cultural groupings, social movements, and historical developments during the nineteenth, twentieth, and twenty-first centuries. Finally, Part IV, “Science Fiction as Worldview,” explores SF as a mode of thought and its intersection with other philosophies and large-scale perspectives on the world, from the Enlightenment to the present day
Juliet John (ed.)
The Oxford Handbook of Victorian Literary Culture is a major contribution to the dynamic field of Victorian studies. This collection of 37 original chapters by leading international Victorian scholars offers new approaches to familiar themes (for example, science, religion, gender) and gives space to newer and emerging topics (for instance, old age, fair play, economics). Structured around three broad sections (on ‘Ways of Being: Identity and Ideology’, ‘Ways of Understanding: Knowledge and Belief’, and ‘Ways of Communicating: Print and Other Cultures’), the volume is sub-divided into 9 sub-sections each with its own ‘lead’ essay: on subjectivity, politics, gender and sexuality, place and race, religion, science, material and mass culture, aesthetics and visual culture, and theatrical culture. The collection, like today’s Victorian studies, is thoroughly interdisciplinary and yet its substantial Introduction explores a concern which is evident both implicitly and explicitly in the volume’s essays: that is, the nature and status of ‘literary’ culture and the literary from the Victorian period to the present. The diverse and wide-ranging essays present original scholarship framed accessibly for a mixed readership of advanced undergraduates, graduate students and established scholars.
John Ernest (ed.)
The Oxford Handbook of the African American Slave Narrative approaches the history of slave testimony in three ways: by prioritizing the broad tradition over individual authors; by representing interdisciplinary approaches to slave narratives; and by highlighting emerging scholarship on slave narratives, concerning both established debates over concerns of authorship and agency, for example, and developing concerns like ecocritical readings of slave narratives. Ultimately, the aim of the Handbook is not to highlight the singularity of any particular account, nor to comfortably locate slave narratives in traditional literary or cultural history, but rather to faithfully represent a body of writing and testimony that was designed to speak for the many, to represent the unspeakable, and to account for the experience of enslaved and nominally free communities. The Handbook is organized into six sections: “Historical Fractures,” “Layered Testimonies,” “Textual Bindings,” “Experience and Authority,” “Environments and Migrations,” and “Echoes and Traces.” The Handbook’s contributing scholars address testimony from a broad range of sources, including traditional archives, Works Progress Administration (WPA), newspapers, diaries or memoirs, pension records, and even the testimony suggested by traces in the landscape and architecture of slave plantations. The reach of sources covered in the Handbook is not exhaustive, but instead is intended to indicate the broad range of sources from which testimony can be recovered. Other chapters address matters of gender, sexuality, and community, environmental concerns, legal contexts and implications, and manifestations of slave testimony in visual and aural cultures. Many essays work to locate African American slave narratives both historically and geographically, through considerations of literary history, through considerations of the geography covered by slave narratives, and through hemispheric and transatlantic connections central to understanding U.S. testimony. There are no chapters devoted to major writers, since various resources already exist for that purpose and since those writers emerge as central figures in many of the essays. The purpose of all chapters in the Handbook is to account for the conventional wisdom on the subject in the process of exploring critical new directions for approaching these concerns. The Handbook’s goal is to encourage research on a great number of understudied narratives while demonstrating the rich complexity of this field of study for those just entering it.
Julia Swindells and David Francis Taylor (eds)
This Handbook provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832—a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty chapters both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms—not just tragedy and comedy, but the likes of melodrama and pantomime—as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, this book shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.
Jonathan Auerbach and Russ Castronovo (eds)
This handbook includes 23 essays by leading scholars from a variety of disciplines, divided into three sections: (1) Histories and Nationalities, (2) Institutions and Practices, and (3) Theories and Methodologies. In addition to dealing with the thorny question of definition, the handbook takes up an expansive set of assumptions and a full range of approaches that move propaganda beyond political campaigns and warfare to examine a wide array of cultural contexts and practices.
Daisuke Miyao (ed.)
The aim of The Oxford Handbook of Japanese Cinema is to provide the reader with multifaceted single-volume account of Japanese cinema. This volume addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization. By doing so, this collection responds to a number of developments in the rapidly changing field of cinema and media studies. It also challenges a number of underdeveloped areas in the discipline. Our ambition has been to build a bridge and foster dialogue among Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, non-film scholars including a scholar another discipline, a film archivist, and a film producer who is familiar with film scholarship.
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.
Matthew Bevis (ed.)
This Handbook is the largest and most comprehensive collection of essays on Victorian poetry and poetics yet published. It provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements ('Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'). The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, and the final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions.
Lisa Rodensky (ed.)
The Oxford Handbook of the Victorian Novel contributes substantially to the thriving scholarly field of Victorian studies by offering 36 original chapters that offer new approaches to familiar topics (the novel and science, the Victorian Bildungsroman) as well as examining often overlooked topics (the novel and classics, the novel and the OED, the novel and allusion). Manifesting the increasing interdisciplinarity of Victorian studies, the handbook’s chapters situate the novel within a complex network of relations (among, for instance, readers, editors, reviewers, and the novelists themselves; or among different cultural pressures—the religious, the commercial, the legal). The handbook’s chapters also build on recent bibliographic work of remarkable scope and detail, responding to the growing attention to print culture. The handbook attends to the major themes in Victorian scholarship while at the same time creating new possibilities for further research. Balancing breadth and depth, the clearly written contributions provide readers with overviews as well as original scholarship, an approach which will serve advanced undergraduates, graduate students, and established scholars.
Graham Huggan (ed.)
The Oxford Handbook of Postcolonial Studies is a major, fully up-to-date reference work, involving more than thirty worldwide contributors, which aims to provide nothing less than a blueprint for the future of its field. It is coherently organized into five cross-referenced parts, ‘The Imperial Past’, ‘The Colonial Present’, ‘Theory and Practice’, ‘Across the Disciplines’, and ‘Across the World’. Taken together, its essays, which are written by leading scholars in the field, reflect the multidisciplinary nature of postcolonial studies while confirming its continuing relevance to the study of both the colonial past—in its multiple manifestations—and the contemporary globalized world.
Greg Garrard (ed.)
This volume explores the history, application, and the future of ecocriticism. It traces the origins of and describes the practice of ecocriticism during the renaissance, medieval, and romantic period and evaluates the influence of the ecoformalism of country and old-time music. It analyzes the relevance of various theories and principles to ecocritical analysis including posthumanism, phenomenology, queer theory, deconstruction, pataphyics, biosemiotic criticism, and environmental justice. This volume also investigates the application of ecocriticism in the analysis of the politics of representation, evaluation literary form and genre and in eco-film studies and reviews the relevant works of various authors including Rudyard Kipling and W. E. B. Du Bois.
Peter Robinson (ed.)
The Oxford Handbook of Contemporary British and Irish Poetry offers thirty-eight chapters of groundbreaking research on the various groupings and movements, the locations and styles, as well as concerns (aesthetic, political, cultural, and ethical) that have helped shape contemporary poetry in Britain and Ireland. The book is divided into five parts that explore: a history of the period's poetic movements; its engagement with form, technique, and the other arts; its association with particular locations and places; its connection with, and difference from, poetry in other parts of the world; and ethical issues such as whether poetry can perform actions in the world, can atone, redress, or repair, and how its significance is inseparable from acts of evaluation in both poets and readers.
Eugene Giddens (ed.)
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online. For more information, please read the site FAQs.
Jonathan Post (ed.)
The sound of Shakespeare’s words is intrinsic to their meaning and dramatic effect. This essay understands poetry as word music whether written as verse or prose. My approach to the theme invokes Richard Strauss’s opera Capriccio, Edmund Kean, John Keats, Herbert Farjeon, Edith Evans, Edith Sitwell, and Virginia Woolf. I then present a survey of how the musicality of Shakespeare’s language has been discussed by three influential theatrical practitioners of the last forty years: John Barton, Cicely Berry, and Adrian Noble, and notice their difficulty in approaching Shakespeare’s word music even whilst recognizing it as crucial to his poetry and dramatic art. There then follow close readings of an example of verse (Twelfth Night, or what you will to approach the theme 1.5.257-65) and prose (Macbeth 5.1.18-64), the better to illustrate my recommendations of how readers might experience Shakespeare’s word music for themselves, and enrich Shakespeare when performed.
Carlos Rojas (ed.)
This volume brings together innovative analyses covering a wide range of issues relating to Chinese cinemas. The volume is divided into three parts, focusing respectively on historical periodizations, categories that share formal characteristics, and structural elements involved in the production, distribution, and reception of the works themselves. In historical terms, topics range from the birth of Chinese cinema at the beginning of the twentieth century to the present moment, and include discussions of several periods that have hitherto not yet received much detailed analysis—including Manchurian cinema from the 1930s and 1940s, and Mainland Chinese cinema from the Maoist period. In formal terms, topics range from familiar cinematic genres such as the opera film and the war film, to newer techno-formal configurations such as small-screen and large-screen cinemas. In structural terms, topics range acting and directing to the practices of reenactments and remakes. Neither the volume as a whole, its three main parts, nor any of its individual chapters pretends to present an encyclopedic overview of its corresponding topic. Instead, our objective is to explore the interpretive spaces that open up at the interstices of various existing conceptions of the shape of the field. It is here, we contend, that we may find the key to a richer understanding not only of a singular “Chinese cinema,” but more importantly of an eclectic body of mutually overlapping Chinese cinemas.
Alan Downie (ed.)
Although the emergence of the English novel is generally regarded as an eighteenth-century phenomenon, this is the first book to be published professing to cover the ‘eighteenth-century English novel’ in its entirety. This Handbook surveys the development of the English novel during the ‘long’ eighteenth century—in other words, from the later seventeenth century right through to the first three decades of the nineteenth century when, with the publication of the novels of Jane Austen and Walter Scott, ‘the novel’ finally gained critical acceptance and assumed the position of cultural hegemony it enjoyed for over a century. By situating the novels of the period which are still read today against the background of the hundreds published between 1660 and 1830, this Handbook covers not only those ‘masters and mistresses’ of early prose fiction—such as Defoe, Richardson, Fielding, Sterne, Burney, Scott, and Austen—who are still acknowledged to be seminal figures in the emergence and development of the English novel, but also the significant number of recently rediscovered novelists who were popular in their own day. At the same time, its comprehensive coverage of cultural contexts not considered by any existing study, but which are central to the emergence of the novel—such as the book trade and the mechanics of book production, copyright and censorship, the growth of the reading public, the economics of culture both in London and in the provinces, and the reprinting of popular fiction after 1774—offers unique insight into the making of the English novel.
Andrew Hadfield (ed.)
The Oxford Handbook of English Prose 1550–1640 offers an overview of early modern English prose writing. The aim of the volume is to make prose more visible as a subject and as a mode of writing. It covers a vast range of material vital for the understanding of the period: from jestbooks, newsbooks, and popular romance to the translation of the classics and the pioneering collections of scientific writing and travel writing; from diaries, tracts on witchcraft, and domestic conduct books to rhetorical treatises designed for a courtly audience; from little known works such as William Baldwin's Beware the Cat, probably the first novel in English, to The Bible, The Book of Common Prayer and Richard Hooker's eloquent statement of Anglican belief, The Laws of Ecclesiastical Polity. The work not only deals with the range and variety of the substance and types of English prose, but also analyses the forms and styles of writing adopted in the early modern period, ranging from the Euphuistic nature of prose fiction inaugurated by John Lyly's mannered novel, to the aggressive polemic of the Marprelate controversy; from the scatological humour of comic writing to the careful modulations of the most significant sermons of the age; and from the pithy and concise English essays of Francis Bacon to the ornate and meandering style of John Florio's translation of Montaigne's famous collection.
Michael O'Neill, Anthony Howe, and with the Assistance of Madeleine Callaghan (eds)
The Oxford Handbook of Shelley takes stock of current developments in the study of a major Romantic poet and prose-writer, and seeks to advance Shelley studies beyond the current scholarship. It consists of forty-two chapters and offers a wide-ranging single-volume body of writings on Shelley, building on the textual revolution in Shelley studies, which has transformed understanding of the poet, as critics are able to focus on what Shelley actually wrote. The book is divided into five thematic sections: biography and relationships; prose; poetry; cultures, traditions, and influences; and afterlives. The first section reappraises Shelley's life and relationships, including those with his publishers, through whom he sought to reach an audience for the ‘Ashes and sparks’ of his thought, and with women, creative collaborators as well as muse-figures; the second section gives his under-investigated prose works detailed attention, bringing multiple perspectives to bear on his shifting and complex conceptual positions, and demonstrating the range of his achievement in prose works from novels to political and poetic treatises; the third section explores his creativity and gift as a poet, emphasizing his capacity to excel in many different poetic genres; the fourth section looks at his response to past and present literary cultures, both English and international, and at his immersion in science, music, theatre, the visual arts, and tourism and travel; and the fifth section concludes the volume by analysing Shelley's literary and cultural afterlife, from his influence on Victorians and Moderns, to his status as the exemplary poet for Deconstruction.
Fran Brearton and Alan Gillis (eds)
This book describes the latest thinking on modern Irish poetry, beginning with a consideration of W. B. Yeats's early work and the legacy of the nineteenth century. The broadly chronological areas that follow, covering the period from the 1910s through to the twenty-first century, allow scope for coverage of key poetic voices in Ireland in their historical and political context. From the experimentalism of Samuel Beckett, Thomas MacGreevy, and others of the modernist generation, to the refashioning of Yeats's Ireland on the part of poets such as Louis MacNeice, Patrick Kavanagh, and Austin Clarke mid-century, through to the controversially titled post-1969 ‘Northern Renaissance’ of poetry, the book provides extensive coverage of the key movements of the modern period. It covers the work of, among others, Paul Durcan, Thomas Kinsella, Brendan Kennelly, Seamus Heaney, Paul Muldoon, Michael Longley, Medbh McGuckian, and Ciaran Carson. The thematic sections interspersed throughout – chapters on women's poetry, religion, translation, painting, music, stylistics – allow for comparative studies of poets north and south across the century. Central to the guiding spirit of this project is the book's analysis of poetic forms as well as the generic diversity of poetry in Ireland, its various manipulations, reinventions, and sometimes repudiations of traditional forms. It also looks at the work of a ‘new’ generation of poets from Ireland, concentrating on work published in the last two decades by Justin Quinn, Leontia Flynn, Sinead Morrissey, David Wheatley, Vona Groarke, and others.
Laura Lunger Knoppers (ed.)
The Oxford Handbook of Literature and the English Revolution offers thirty-seven new articles by an international team of literary critics and historians on the writings generated by the tumultuous events of mid-seventeenth-century England. Unprecedented events — civil war, regicide, the abolition of monarchy, proscription of episcopacy, constitutional experiment, and finally the return of monarchy — led to an unprecedented outpouring of texts, including new and transformed literary genres and techniques. The book provides up-to-date scholarship on current issues as well as historical information, textual analysis, and bibliographical tools to help readers understand and appreciate the bold and indeed revolutionary character of writing in mid-seventeenth-century England. The volume aims to be innovative in its attention to the literary and aesthetic aspects of a wide range of political and religious writing, as well as in its demonstration of how literary texts register the political pressures of their time. Opening with contextual articles on religion, politics, society, and culture, the subsequent largely chronological articles analyse particular voices, texts, and genres as they respond to revolutionary events. Attention is given to aesthetic qualities, as well as to bold political and religious ideas, in such writers as James Harrington, Marchamont Nedham, Thomas Hobbes, Gerrard Winstanley, John Lilburne, and Abiezer Coppe. At the same time, the revolutionary political context sheds new light on such well-known literary writers as John Milton, Andrew Marvell, Robert Herrick, Henry Vaughan, William Davenant, John Dryden, Lucy Hutchinson, Margaret Cavendish, and John Bunyan.
Felicity Heal, Ian W. Archer, and Paulina Kewes (eds)
The Chronicles of England, Scotland, and Ireland (1577, 1587), issued under the name of Raphael Holinshed, was the crowning achievement of Tudor historiography, and became the principal source for the historical writings of Spenser, Daniel and, above all, Shakespeare. While scholars have long been drawn to Holinshed for its qualities as a source, they typically dismissed it as a baggy collection of materials, lacking coherent form and analytical insight. This condescending verdict has only recently given way to an appreciation of the literary and historical qualities of these chronicles. The Oxford Handbook of Holinshed's Chronicles is a major interdisciplinary undertaking which gives the lie to Holinshed's detractors, and provides original interpretations of a book that has lacked sustained academic scrutiny. Bringing together specialists in a variety of fields – literature, history, religion, classics, bibliography, and the history of the book – the text demonstrates that the Chronicles powerfully reflect the nature of Tudor thinking about the past, about politics and society, and about the literary and rhetorical means by which readers might be persuaded of the truth of narrative. It shows how distinctive it was for one book to chronicle the history of three nations of the British archipelago. The various sections of the book analyse the making of the two editions of the Chronicles; the relationship of the work to medieval and early modern historiography; its formal properties, genres, and audience; attitudes to politics, religion, and society; literary appropriations; and the parallel descriptions and histories of England, Scotland, Ireland, and Wales. The result is a study that shows the vitality and complexity of the chronicle form in the late sixteenth century.
Frederick Burwick (ed.)
The Oxford Handbook of Coleridge is a single-volume source of original scholarship on all aspects of Coleridge's diverse writings. Thirty-seven articles present an in-depth assessment of a major author of British Romanticism. The book is divided into sections on Biography, Prose Works, Poetic Works, Sources, and Influences, and Reception. The Coleridge scholar today has ready access to a range of materials previously available only in library archives on both sides of the Atlantic. The Bollingen edition of the Collected Works of Samuel Taylor Coleridge, forty years in production, was completed in 2002. The Coleridge Notebooks (1957–2002) were also produced during this same period, five volumes of text with an additional five companion volumes of notes. The Clarendon Press of Oxford published the letters in six volumes (1956–71). To take full advantage of the convenient access and new insight provided by these volumes, the Oxford Handbook examines the entire range and complexity of Coleridge's career. It analyses the many aspects of Coleridge's literary, critical, philosophical, and theological pursuits, and furnishes both students and advanced scholars with the proper tools for assimilating and illuminating Coleridge's rich and varied accomplishments.
Gary Taylor and Trish Thomas Henley (eds)
The articles in this handbook reinterpret the English Renaissance through the lens of one of its most original and least understood geniuses. Shakespeare's younger contemporary and collaborator, Thomas Middleton wrote modern comedies, tragedies, tragicomedies, history plays, masques, pageants, pamphlets, and poetry. The book provides an in-depth reaction to OUP's Collected Works of Thomas Middleton. It brings together an international, cross-generational team of experts to discuss all these genres through an equally diverse range of critical approaches, from feminism to stylistics, ecocriticism to performance studies, Aristotle to Zizek. Reinterpretations of canonical plays such as The Changeling, Women Beware Women, The Roaring Girl, and A Chaste Maid in Cheapside mingle with explorations of neglected or recently identified works. Middleton's dramatic use of dance, music, and clothing; Middletonian adaptation; his relationships to the classical world and to continental Europe; and his explorations of sexuality and religion, all receive attention. The book also provides new work on modern and postmodern reactions to Middleton, including recent Middleton revivals and films, and living artists' responses to his work – responses that range from the actresses who play Middleton's women to writers in various genres who have been inspired by his artistry.
Russ Castronovo (ed.)
How do we approach the rich field of nineteenth-century American literature? How might we recalibrate the coordinates of critical vision and open up new areas of investigation? To answer such questions, this book brings together twenty-three original articles written by leading scholars in American literary studies. By examining specific novels, poems, essays, diaries, and other literary examples, the articles confront head-on the implications, scope, and scale of their analysis. The articles foreground methodological concerns to assess the challenges of transnational perspectives, disability studies, environmental criticism, affect studies, gender analysis, and other cutting-edge approaches. The Oxford Handbook of Nineteenth-Century American Literature is both critically incisive and sharply practical, inviting attention to how readers read, how critics critique, and how interpreters interpret. It offers forceful strategies for rethinking protest novels, women's writing, urban literature, slave narratives, and popular fiction, to name just a few of the wide array of topics and genres covered. This book, rather than surveying established ideas in studies of nineteenth-century American literature, registers what is happening now and anticipates what will shape the field's future.
Cary Nelson (ed.)
The Oxford Handbook of Modern and Contemporary American Poetry provides a comprehensive approach to the debates that have defined the study of American verse of the twentieth and twenty-first centuries. Topics include: the influence of jazz on beat poetry, surrealist influences on American verse, disability poetics, Asian American poetry, and more.
Thomas Betteridge and Greg Walker (eds)
The Oxford Handbook of Tudor Drama provides an authoritative secondary text on Tudor drama. It both integrates recent important research across different disciplines and periods and sets a new agenda for the future study of Tudor drama, questioning a number of the central assumptions of previous studies. Balancing the interests and concerns of scholars in theatre history, drama, and literary studies, its scope reflects the broad reach of Tudor drama as a subject, inviting readers to see the Tudor century as a whole, rather than made up of artificial and misleading divisions between ‘medieval’ and ‘renaissance’, religious and secular, pre- and post-Shakespeare. The articles attend to the contexts, intellectual, theatrical, and historical within which drama was written, produced, and staged in this period, and ask us to consider afresh this most vital and complex of periods in theatre history. The book is divided into four sections which cover religious drama; interludes and comedies, entertainments, masques, and royal entries; and histories and political dramas.
Mike Pincombe and Cathy Shrank (eds)
The Oxford Handbook of Tudor Literature looks at the literature of the entire Tudor period, from the reign of Henry VII to the death of Elizabeth I. It pays particularly attention to the years before 1580. Those decades saw, amongst other things, the establishment of print culture and the growth of a reading public; the various phases of the English Reformation and the process of political centralization that enabled and accompanied them; the increasing emulation of Continental and classical literatures under the influence of humanism; the self-conscious emergence of English as a literary language and the determined creation of a native literary canon; the beginnings of the English empire and the consolidation of a sense of nationhood. However, the study of Tudor literature prior to 1580 is of worth as a context, or foundation, for an Elizabethan ‘golden age’. As this book shows it is also of artistic, intellectual, and cultural merit in its own right.
Sandra Harbert Petrulionis, Laura Dassow Walls, and Joel Myerson (eds)
The Oxford Handbook of Transcendentalism offers an interdisciplinary approach to the cultural impact of this movement. The volume contains over fifty chapters that cover Transcendentalism's relationship not only to literature, but also to religion, politics, music, science, and the visual arts. The book features chapters on an eclectic group of texts: in addition to examining standard works by Emerson, Thoreau, Whitman, and Fuller, the volume considers a variety of forms, including periodicals, sermons, travel writing, nature writing, and photography. The book also opens up the discussion of the movement beyond the New England-centered, Anglo American world and explores Transcendentalism's relationship to the worlds of Ancient Greece, Asia, and Europe and considers the movement's relationship to American Indians.
Karen Weisman (ed.)
The Oxford Handbook of The Elegy examines the mourning and memorialization that lies at the very centre of literary culture. For all of its pervasiveness, however, the ‘elegy’ remains remarkably ill-defined: sometimes used as a catch-all to denominate texts of a somber or pessimistic tone, sometimes as a marker for textual monumentalizing, and sometimes strictly as a sign of a lament for the dead. This text is a comprehensive study of its subject. It provides both a historical survey and a thematic engagement with the relevant issues in elegy. It is responsive to a pressing need for clarification of the relevant issues, and to the exciting developments underway in elegy studies. This volume is timely, since in recent years there has been an explosion in interest in elegies about AIDS, cancer, and war; various reconsiderations of the role of women in the history of elegiac writing; and readings of elegy in relation to ethics, philosophy and theory, and political structure.
Hugh Adlington, Peter McCullough, and Emma Rhatigan (eds)
Scholarly interest in the early modern sermon has flourished in recent years, driven by belated recognition of the crucial importance of preaching to religious, cultural, and political life in early modern Britain. This book surveys this new field. It is divided into sections devoted to sermon composition, delivery, and reception; sermons in Scotland, Ireland, and Wales; English sermons, 1500–1660; and English sermons, 1660–1720. The twenty-five articles the book contains represent emerging areas of interest, including research on sermons in performance; pulpit censorship; preaching and ecclesiology; women and sermons; the social, economic, and literary history of sermons in manuscript and print; and non-elite preaching. The book also responds to the recently recognised need to extend thinking about the ‘early modern’ across the watershed of the civil wars and interregnum, on both sides of which sermons and preaching remained a potent instrument of religious politics and a literary form of central importance to British culture.