J. K. Rowling’s “ Harry Potter” series (1997–2007) has turned into a global phenomenon and her Potterverse is still expanding. The contributions in this volume provide a range of inter- and transdisciplinary approaches to various dimensions of this multifacetted universe. The introductory article focuses on different forms of world building in the novels, the translations, the film series and the fandom. Part I examines various potential sources for Rowling’s series in folklore, the Arthurian legend and Gothic literature. Further articles focus on parallels between the “Harry Potter” series and Celtic Druidism, the impact Victorian notions of gender roles have had on the representation of the Gaunt family, the reception of (medieval and Early Modern) history in the series and the influence of Christian concepts on the world view expressed in the novels.
This book is made open access as part of the Knowledge Unlatched KU Select 2018: HSS Backlist Books

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J. K. Rowling’s “ Harry Potter” series (1997–2007) has turned into a global phenomenon and her Potterverse is still expanding. The contributions in this volume provide a range of inter- and transdisciplinary approaches to various dimensions of this multifacetted universe. The introductory article focuses on different forms of world building in the novels, the translations, the film series and the fandom. Part I examines various potential sources for Rowling’s series in folklore, the Arthurian legend and Gothic literature. Further articles focus on parallels between the “Harry Potter” series and Celtic Druidism, the impact Victorian notions of gender roles have had on the representation of the Gaunt family, the reception of (medieval and Early Modern) history in the series and the influence of Christian concepts on the world view expressed in the novels.
This book is made open access as part of the Knowledge Unlatched KU Select 2018: HSS Backlist Books

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Dreams within dreams remind us of the treacherous nature of reality. This first comparative study on the subject reveals the diversity of dream-within-a-dream structures. Works of literature, film, TV series and comics from different cultures are analysed in close readings, uncovering their often complex and ambiguous shape. They are also placed in a broader cultural history of the dream. Der Traum im Traum kann Potenzierung des Traums sein oder in Abgründe falschen Erwachens führen. Diese erste komparatistische Monografie zu der Thematik zeigt nicht nur das Spektrum der Formen, sondern auch ihre Anbindung an grundlegende Fragen nach der Zuverlässigkeit der Wahrnehmung und der Realität der Welt. Im Rahmen der vergleichenden Untersuchung von Werken aus Literatur, Film, Fernsehserie und Comic aus diversen kulturellen Kontexten zeigt sich der Traum im Traum in all seinen Gestalten. Diese werden dabei in strukturalistischer Tradition als Traum-im-Traum-Strukturen begriffen. Zahlreiche Einzeluntersuchungen oft komplexer und ambivalenter Beispiele bilden neben Einblicken in die Literaturgeschichte des Traum im Traum den Kern des Buches. Unter Rückgriff auf Methoden der Narratologie, der Phantastiktheorie und der kulturwissenschaftlichen Beschreibung von Traumdarstellungen entsteht ein umfassendes Bild dieses Phänomens.

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Die Georgia Augusta feierte im September 1837 mit einem ganz Göttingen zur Bühne machenden Fest ihr Hundertjahrjubiläum. Die Feierlichkeiten dauerten drei Tage und waren glanzvoll. Um für eine breitere zeitgenössische Öffentlichkeit die Jubiläumsaktivitäten zu dokumentieren und um den „Festmarathon“ als einen der Höhepunkte der Universitätsgeschichte für die Nachwelt festzuhalten, erschienen 1838 bei drei deutschen Verlegern in drei deutschen Städten drei Festbeschreibungen. Zwei davon halten für den Leser Überraschungen bereit: Eduard Beurmanns Prosabericht ist in höchstem Maße kritisch, ja zum Teil sogar sarkastisch, Christianus Juvenalis hat sich für eine hexametrische Satire (!) als „Geburtstagsgeschenk“ entschieden, nur Friedrich Wilhelm Rettbergs Schilderung liegt auf der offiziellen (d.h. enkomiastischen) Linie. Das vorliegende Bändchen bietet eine vergleichende Interpretation dieser drei kulturgeschichtlich und wissenschaftspolitisch aufschlussreichen Texte, wobei der Schwerpunkt auf der Satire liegt, die in faksimilierter Form hier erstmals einer breiteren Öffentlichkeit zugänglich gemacht wird.

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For the book by Alasdair Gray see The Book of Prefaces A Book of Prefaces is H. L. Mencken's 1917 collection of essays criticizing American culture, authors, and movements. Mencken described the work as "[My] most important book in its effects upon my professional career." In fact, the book was considered vitriolic enough that Mencken's close friend Alfred Knopf was concerned about publishing it because of the massive increase in patriotism during World War I in America. The book was short, a brief eighty pages divided into four essays. The four subjects included Theodore Dreiser, Joseph Conrad and James Gibbons Huneker. But perhaps the most important, and certainly the most outspoken essay was entitled "Puritanism as a Literary Force," during which he alleged that William Dean Howells, Henry James, and Mark Twain were victims of the Puritan spirit. "The Puritan's utter lack of aesthetic sense, his distrust of all romantic emotion, his unmatchable intolerance of opposition, his unbreakable belief in his own bleak and narrow views, his savage cruelty of attack, his lust for relentless and barbarous persecution – these things have put an almost unbearable burden up on the exchange of ideas in the United States." Mencken had criticized Puritanism for many years, famously characterizing it as "the haunting fear that someone, somewhere, may be happy," but through World War I his criticism became increasingly outspoken, in part due to the rising tide of Prohibition. Mencken's book triggered the imagination of a famous American author. As a teen first entering the world of reading and books in the early 1920s, Richard Wright found literary inspiration in A Book of Prefaces. From Wikipedia (CC BY-SA).

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Charles Dickens' all-time classic "A Christmas Carol".The tale begins on Christmas Eve seven years after the death of Ebenezer Scrooge's business partner Jacob Marley. Scrooge is established within the first stave (chapter) as a greedy and stingy businessman who has no place in his life for kindness, compassion, charity, or benevolence. After being warned by Marley's ghost to change his ways, Scrooge is visited by three additional ghosts "each in its turn" who accompany him to various scenes with the hope of achieving his transformation.The first of the spirits, the Ghost of Christmas Past, takes Scrooge to the scenes of his boyhood and youth which stir the old miser's gentle and tender side by reminding him of a time when he was more innocent. The second spirit, the Ghost of Christmas Present, takes Scrooge to several radically differing scenes (a joy-filled market of people buying the makings of Christmas dinner, the family feast of Scrooge's near-impoverished clerk Bob Cratchit, a miner's cottage, and a lighthouse among other sites) in order to evince from the miser a sense of responsibility for his fellow man. The third spirit, the Ghost of Christmas Yet to Come, harrows Scrooge with dire visions of the future if he does not learn and act upon what he has witnessed. Scrooge's own neglected and untended grave is revealed, prompting the miser to aver that he will change his ways in hopes of changing these "shadows of what may be."In the fifth and final stave, Scrooge awakens Christmas morning with joy and love in his heart, then spends the day with his nephew's family after anonymously sending a prize turkey to the Crachit home for Christmas dinner. Scrooge has become a different man overnight, and now treats his fellow men with kindness, generosity, and compassion, gaining a reputation as a man who embodies the spirit of Christmas. The story closes with the narrator confirming the validity, completeness, and permanence of Scrooge's transformation.

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Charles Dickens' all-time classic "A Christmas Carol".The tale begins on Christmas Eve seven years after the death of Ebenezer Scrooge's business partner Jacob Marley. Scrooge is established within the first stave (chapter) as a greedy and stingy businessman who has no place in his life for kindness, compassion, charity, or benevolence. After being warned by Marley's ghost to change his ways, Scrooge is visited by three additional ghosts "each in its turn" who accompany him to various scenes with the hope of achieving his transformation.The first of the spirits, the Ghost of Christmas Past, takes Scrooge to the scenes of his boyhood and youth which stir the old miser's gentle and tender side by reminding him of a time when he was more innocent. The second spirit, the Ghost of Christmas Present, takes Scrooge to several radically differing scenes (a joy-filled market of people buying the makings of Christmas dinner, the family feast of Scrooge's near-impoverished clerk Bob Cratchit, a miner's cottage, and a lighthouse among other sites) in order to evince from the miser a sense of responsibility for his fellow man. The third spirit, the Ghost of Christmas Yet to Come, harrows Scrooge with dire visions of the future if he does not learn and act upon what he has witnessed. Scrooge's own neglected and untended grave is revealed, prompting the miser to aver that he will change his ways in hopes of changing these "shadows of what may be."In the fifth and final stave, Scrooge awakens Christmas morning with joy and love in his heart, then spends the day with his nephew's family after anonymously sending a prize turkey to the Crachit home for Christmas dinner. Scrooge has become a different man overnight, and now treats his fellow men with kindness, generosity, and compassion, gaining a reputation as a man who embodies the spirit of Christmas. The story closes with the narrator confirming the validity, completeness, and permanence of Scrooge's transformation.

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Charles Dickens' all-time classic "A Christmas Carol".The tale begins on Christmas Eve seven years after the death of Ebenezer Scrooge's business partner Jacob Marley. Scrooge is established within the first stave (chapter) as a greedy and stingy businessman who has no place in his life for kindness, compassion, charity, or benevolence. After being warned by Marley's ghost to change his ways, Scrooge is visited by three additional ghosts "each in its turn" who accompany him to various scenes with the hope of achieving his transformation.The first of the spirits, the Ghost of Christmas Past, takes Scrooge to the scenes of his boyhood and youth which stir the old miser's gentle and tender side by reminding him of a time when he was more innocent. The second spirit, the Ghost of Christmas Present, takes Scrooge to several radically differing scenes (a joy-filled market of people buying the makings of Christmas dinner, the family feast of Scrooge's near-impoverished clerk Bob Cratchit, a miner's cottage, and a lighthouse among other sites) in order to evince from the miser a sense of responsibility for his fellow man. The third spirit, the Ghost of Christmas Yet to Come, harrows Scrooge with dire visions of the future if he does not learn and act upon what he has witnessed. Scrooge's own neglected and untended grave is revealed, prompting the miser to aver that he will change his ways in hopes of changing these "shadows of what may be."In the fifth and final stave, Scrooge awakens Christmas morning with joy and love in his heart, then spends the day with his nephew's family after anonymously sending a prize turkey to the Crachit home for Christmas dinner. Scrooge has become a different man overnight, and now treats his fellow men with kindness, generosity, and compassion, gaining a reputation as a man who embodies the spirit of Christmas. The story closes with the narrator confirming the validity, completeness, and permanence of Scrooge's transformation.

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No one knew it. He as little as any. No one knew it. Only indeed Patrasche, who, being with him always, saw him draw with chalk upon the stones any and every thing that grew or breathed, heard him on his little bed of hay murmur all manner of timid, pathetic prayers to the spirit of the great Master; watched his gaze darken and his face radiate at the evening glow of sunset or the rosy rising of the dawn.

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This book examines the role of Persian literature in politics in the tumultuous period of Iranian history from 1950 to 2000, illustrating how intellectuals used poetry, plays, novels and short stories to comment on socio-political developments. The unique aspect of the book is its strong empirical perspective as it analyses how Persian intellectuals dealt with sensor, suppression, imprisonment, exile and even execution for the sake of expression of free speech. Karimi-Hakkak’s methodology is also unique as he applies theoretical perspectives of various disciplines to produce a multi-faceted work, which provide the reader with a concise socio-political history based on the interaction between literature and politics. ‘A Fire of Lilies’ will therefore make a significant contribution to the research on modern Persian literature as well as literary historiography.
This book is made open access as part of the Knowledge Unlatched KU Select 2019: HSS Frontlist Books

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This book examines the role of Persian literature in politics in the tumultuous period of Iranian history from 1950 to 2000, illustrating how intellectuals used poetry, plays, novels and short stories to comment on socio-political developments. The unique aspect of the book is its strong empirical perspective as it analyses how Persian intellectuals dealt with sensor, suppression, imprisonment, exile and even execution for the sake of expression of free speech. Karimi-Hakkak’s methodology is also unique as he applies theoretical perspectives of various disciplines to produce a multi-faceted work, which provide the reader with a concise socio-political history based on the interaction between literature and politics. ‘A Fire of Lilies’ will therefore make a significant contribution to the research on modern Persian literature as well as literary historiography.
This book is made open access as part of the Knowledge Unlatched KU Select 2019: HSS Frontlist Books

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This volume tells the story of the case study genre at a time when it became the genre par excellence for discussing human sexuality across the humanities and the life sciences. A History of the Case Study takes the reader on a transcontinental journey from the imperial world of fin-de-siècle Central Europe to the interwar metropolises of Weimar Germany, and to the United States of America in the post-war years. Foregrounding the figures of case study pioneers, and highlighting their radical engagements with the genre, the work scrutinises the case writing practices of Sigmund Freud and his predecessor sexologist Richard von Krafft-Ebing; writers such as Leopold von Sacher-Masoch and Weimar intellectuals such as Erich Wulffen. There result new insights into the continuing legacy of such writers, and into the agency increasingly claimed by the readerships that emerged with the development of modernity—from readers who self-identified as masochists, to conmen and female criminals.

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This volume tells the story of the case study genre at a time when it became the genre par excellence for discussing human sexuality across the humanities and the life sciences. A History of the Case Study takes the reader on a transcontinental journey from the imperial world of fin-de-siècle Central Europe to the interwar metropolises of Weimar Germany, and to the United States of America in the post-war years. Foregrounding the figures of case study pioneers, and highlighting their radical engagements with the genre, the work scrutinises the case writing practices of Sigmund Freud and his predecessor sexologist Richard von Krafft-Ebing; writers such as Leopold von Sacher-Masoch and Weimar intellectuals such as Erich Wulffen. There result new insights into the continuing legacy of such writers, and into the agency increasingly claimed by the readerships that emerged with the development of modernity—from readers who self-identified as masochists, to conmen and female criminals.

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Oscar Wilde was born in 1856 in Dublin. Raconteur, socialite, and aesthete in the end of the 19th century Pre- Raphaelite London, he is remembered for his jeweled prose and poetry and such lasting works and The Picture of Dorian Gray, and of course, The Importance of Being Earnest. He told and retold his fairy tales to friends in private readings, refining them further each time before finally publishing them in two collections between 1888 and 1891 to great acclaim and lasting popularity ever since. Much of their charm is due to Wilde's intention that the stories be "studies in prose... meant partly for children, and partly for those who have kept the childlike faculties of wonder and joy, and who find in simplicity a subtle strangeness." Often whimsical and sometimes sad, they all shine with poetry and magic.

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The discovery of a treasure map sets young Jim Hawkins in search of buried gold, along with a crew of buccaneers recruited by the one-legged Long John Silver. As they near their destination, and the lure of Captain Flint's treasure grows ever stronger, Jim's courage and wits are tested to the full. Robert Louis Stevenson reinvented the adventure genre with Treasure Island, a boys' story that appeals as much to adults as to children, and whose moral ambiguities turned the Victorian universe on its head. This edition celebrates the ultimate book of pirates and high adventure, and also examines how its tale of greed, murder, treachery, and evil has acquired its classic status. The book features an informative Introduction and explanatory notes by Peter Hunt, an updated bibliography, a revised chronology, and a glossary of nautical terms. Hunt includes a Note on the Text that highlights important variants between serial and volume publication and he's added additional appendices, featuring Stevenson's short fable "The Persons of the Tale" and appendix of comparative episodes from Stevenson's sources. - Publisher.

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The discovery of a treasure map sets young Jim Hawkins in search of buried gold, along with a crew of buccaneers recruited by the one-legged Long John Silver. As they near their destination, and the lure of Captain Flint's treasure grows ever stronger, Jim's courage and wits are tested to the full. Robert Louis Stevenson reinvented the adventure genre with Treasure Island, a boys' story that appeals as much to adults as to children, and whose moral ambiguities turned the Victorian universe on its head. This edition celebrates the ultimate book of pirates and high adventure, and also examines how its tale of greed, murder, treachery, and evil has acquired its classic status. The book features an informative Introduction and explanatory notes by Peter Hunt, an updated bibliography, a revised chronology, and a glossary of nautical terms. Hunt includes a Note on the Text that highlights important variants between serial and volume publication and he's added additional appendices, featuring Stevenson's short fable "The Persons of the Tale" and appendix of comparative episodes from Stevenson's sources. - Publisher.

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The discovery of a treasure map sets young Jim Hawkins in search of buried gold, along with a crew of buccaneers recruited by the one-legged Long John Silver. As they near their destination, and the lure of Captain Flint's treasure grows ever stronger, Jim's courage and wits are tested to the full. Robert Louis Stevenson reinvented the adventure genre with Treasure Island, a boys' story that appeals as much to adults as to children, and whose moral ambiguities turned the Victorian universe on its head. This edition celebrates the ultimate book of pirates and high adventure, and also examines how its tale of greed, murder, treachery, and evil has acquired its classic status. The book features an informative Introduction and explanatory notes by Peter Hunt, an updated bibliography, a revised chronology, and a glossary of nautical terms. Hunt includes a Note on the Text that highlights important variants between serial and volume publication and he's added additional appendices, featuring Stevenson's short fable "The Persons of the Tale" and appendix of comparative episodes from Stevenson's sources. - Publisher.

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Languages and cities are irreverent: they never let / have never let themselves be reduced to their materiality. Cities are not equivalent to cities and languages are not equivalent to languages. Languages and cities are undisciplined even in the face of any norm to which they are subjected, as thinking and language, by not being definitive, changes with each speaker, in the course of the exercise of their citizenship regardless of the age, wishes to affirm himself/herself as a free person and each linguistic community wishes to protect its identity. It is only through liberty that the knowledge and progress of humankind, unconditionally based on the exercise of verbal language, are accomplished.

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Often considered to be a classic literary guidebook, "A Little Tour in France" was first published in 1884 and is a first person narrative of Henry James's travels through and thoughts on this country. From Tours to Dijon, James tells of the towns and cities, the church and inns, the museums and palaces. "I am ashamed to begin with saying that Touraine is the garden of France; that remark has long ago lost its bloom. The town of Tours, however, has something sweet and bright, which suggests that it is surrounded by a land of fruits. It is a very agreeable little city; few towns of its size are more ripe, more complete, or, I should suppose, in better humor with themselves and less disposed to envy the responsibilities of bigger places. It is truly the capital of its smiling province . . ."

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCRd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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Elfride Swancourt is the daughter of the Rector of Endelstow, a remote sea-swept parish in Corwall based on St Juliot, where Hardy began A Pair of Blue Eyes during the beginning of his courtship of his first wife, Emma. Blue-eyed and high-spirited, Elfride has little experience of the world beyond, and becomes entangled with two men: the boyish architect, Stephen Smith, and the older literary man, Henry Knight. The former friends become rivals, and Elfride faces an agonizing choice. Written at a crucial time in Hardy's life, A Pair of Blue Eyes expresses more directly than any of his novels the events and social forces that made him the writer he was. Elfride's dilemma mirrors the difficult decision Hardy himself had to make with this novel: to pursue the profession of architecture, where he was established, or literature, where he had yet to make his name. This updated edition contains a new introduction, bibliography, and chronology.

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What is the ocean’s role in human and planetary history? How have writers, sailors, painters, scientists, historians, and philosophers from across time and space poetically envisioned the oceans and depicted human entanglements with the sea? In order to answer these questions, Søren Frank covers an impressive range of material in A Poetic History of the Oceans: Greek, Roman and Biblical texts, an Icelandic Saga, Shakespearean drama, Jens Munk’s logbook, 19th century-writers such as James Fenimore Cooper, Herman Melville, Jules Michelet, Victor Hugo, Jules Verne, Jonas Lie, and Joseph Conrad as well as their 20th and 21st century-heirs like J. G. Ballard, Jens Bjørneboe, and Siri Ranva Hjelm Jacobsen. A Poetic History of the Oceans promotes what Frank labels an amphibian comparative literature and mobilises recent theoretical concepts and methodological developments in Blue Humanities, Blue Ecology, and New Materialism to shed new light on well-known texts and introduce readers to important, but lesser-known Scandinavian literary engagements with the sea.

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While psychiatry and the neurosciences have dismissed the concept of neurosis as too vague for medical purposes, in recent years literary studies have adopted the term by virtue of its abstractness. This volume investigates the verbalization of neurosis in literary and cultural texts. As opposed to the medical diagnostics of neurosis in the individual, the contributions focus on the poetics of neurosis. They indicate how neuroses are still routinely romanticized or vilified, bent to suit aesthetic and narrative choices, and transfigured to illustrate unresolved cultural tensions.
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While psychiatry and the neurosciences have dismissed the concept of neurosis as too vague for medical purposes, in recent years literary studies have adopted the term by virtue of its abstractness. This volume investigates the verbalization of neurosis in literary and cultural texts. As opposed to the medical diagnostics of neurosis in the individual, the contributions focus on the poetics of neurosis. They indicate how neuroses are still routinely romanticized or vilified, bent to suit aesthetic and narrative choices, and transfigured to illustrate unresolved cultural tensions.
This book is made open access as part of the Knowledge Unlatched OGeSoMO

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Story, in the largest sense of the term, is arguably the single most important aspect of narrative. But with the proliferation of antimimetic writing, traditional narrative theory has been inadequate for conceptualizing and theorizing a vast body of innovative narratives. In A Poetics of Plot for the Twenty-First Century: Theorizing Unruly Narratives, Brian Richardson proposes a new model for evaluating literature—returning to the basis of narrative theory to illuminate how authors play with and help clarify the boundaries of narrative theory. While he focuses on late modernist, postmodern, and contemporary narratives, the study also includes many earlier works, spanning from Aristophanes and Shakespeare through James Joyce and Virginia Woolf to Salman Rushdie and Angela Carter.
This book is made open access as part of the Knowledge Unlatched KU Select 2019: HSS Frontlist Books

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Story, in the largest sense of the term, is arguably the single most important aspect of narrative. But with the proliferation of antimimetic writing, traditional narrative theory has been inadequate for conceptualizing and theorizing a vast body of innovative narratives. In A Poetics of Plot for the Twenty-First Century: Theorizing Unruly Narratives, Brian Richardson proposes a new model for evaluating literature—returning to the basis of narrative theory to illuminate how authors play with and help clarify the boundaries of narrative theory. While he focuses on late modernist, postmodern, and contemporary narratives, the study also includes many earlier works, spanning from Aristophanes and Shakespeare through James Joyce and Virginia Woolf to Salman Rushdie and Angela Carter.
This book is made open access as part of the Knowledge Unlatched KU Select 2019: HSS Frontlist Books

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A Political Romance is a 1759 novel by Laurence Sterne, author of Tristram Shandy. The novel was the first work written by Sterne, and it can be labelled a roman à clef or a cronique scandaleuse, which were popular at the beginning of the 18th century. It can be considered a mock-epic allegory that describes a provincial squabble between a church-lawyer, an archbishop and a Dean, i.e. a "Lilliputian" satire on ecclesiastical politics in Sterne's York. From Wikipedia (CC BY-SA).

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James Joyce's Portrait of an Artist is one of the most significant literary works of the twentieth century, and one of the most innovative. Its originality shocked contemporary readers on its publication in 1916 who found its treating of the minutiae of daily life as indecorous, and its central character unappealing. Was it art or was it filth? The novel charts the intellectual, moral, and sexual development of Stephen Dedalus, from his childhood listening to his father's stories through his schooldays and adolescence to the brink of adulthood and independence, and his awakening as an artist. Growing up in a Catholic family in Dublin in the final years of the nineteenth century, Stephen's consciousness is forged by Irish history and politics, by Catholicism and culture, language and art. Stephen's story mirrors that of Joyce himself, and the novel is both startlingly realistic and brilliantly crafted, not to mention that it is one of the founding texts of Modernism and the precursor of the acclaimed Ulysses. For this edition Jeri Johnson, an eminent Joyce scholar, has written an introduction and notes which together provide a comprehensive and illuminating appreciation of Joyce's artistry.

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This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

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"A Room with a View," by E. M. Forster, depicts a young Englishwoman's adventure trying to come to grips with the conflict between her desires and society's expectations. Lucy Honeychurch is a well-bred young middle class girl on holiday in radiant Florence. As E. M. Forster tells it, Lucy comes from a family which is overly concerned with respectability, and is over-protected by a spinster named Charlotte Bartlett. Under no circumstances will Miss Bartlett allow Lucy to pursue (or even examine) her affection for the handsome young George Emerson--his father is far too unconventional with his modern notions about honesty and freethinking. Determined to forget George, Lucy finally gives in to the repeated proposals of Cecil Vyse, a thoroughly fashionable young gentleman, if not very exciting. And so E. M. Forster sets the stage for "A Room with a View," a splendid satire on the English social strata of the early part of the 20th century when the formal social structure of the Victorian era was beginning to fray at the edges. Vyse is a delightfully drawn male chauvinist; nobody likes him, but everyone is willing to accept him, and Lucy convinces herself that she is in love with him. However, Vyse's own penchant for getting his way by playing rather cruel practical jokes brings the Emersons back into the picture. Confronted by the contrast between the not quite classy but intelligent, thoughtful (and bold) George Emerson and the arrogant, boorish, but elite Cecil Vyse, Lucy finally decides to live as she plays Beethoven, with exciting results. E. M. Forster writes gently and calmly, but with a passion for life and love welling up beneath the surface. "A Room with a View" is a lovely book, vital with the force of a sensitive and empathetic mind. Highly recommended!

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This book explores the history of literature as a history of changing media and modes of communication, from manuscript to print, from the codex to the computer, and from paper to digital platforms. It argues that literature has evolved, and continues to evolve, in sync with material forms and formats that engage our senses in multiple ways. Because literary experiences are embedded in, and enabled by, media, the book focuses on literature as a changing combination of material and immaterial features. The principal agents of this history are no longer genres, authors, and texts but configurations of media and technologies. In telling the story of these combinations from prehistory to the present, Ingo Berensmeyer distinguishes between three successive dominants of media usage that have shaped literary history: performance, representation, and connection. Using English literature as a test case for a long view of media history, this book combines an unusual bird’s eye view across periods with illuminating readings of key texts. It will prove an invaluable resource for teaching and for independent study in English or comparative literature and media studies.

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This magical and poignant evocation of coming of age in the countryside describes lovers in secluded lanes, cricket and church bells, cherry trees hung with snow and woods full of bluebells. Yet in A Shropshire Lad the fields and hills are also places of loss and sorrow, where men die young or are sent far away to fight in foreign wars. Aching with longing for a vanished world, these exquisite verses are a meditation on the fleeting nature of love, youth and happiness. Generations of inhabitants have helped shape the English countryside but it has profoundly shaped us too.It has provoked a huge variety of responses from artists, writers, musicians and people who live and work on the land as well as those who are travelling through it.English Journeys celebrates this long tradition with a series of twenty books on all aspects of the countryside, from stargazey pie and country churches, to mans relationship with nature and songs celebrating the patterns of the countryside (as well as ghosts and love-struck soldiers).

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The Large Farāmarznāme (Farāmarznāme-ye bozorg), a poem from the Persian epic cycle dated to the late eleventh century, is hereby published for the first time in an English translation, in prose. The story tells how Farāmarz, a son of the famous Shāhnāme hero Rostam, conquers several provinces of India, before setting off on an extensive voyage over sea and land, leading his troops through a number of hazardous situations in various fictional countries. As a true epic hero, he displays his prowess in battle and in single combat against men, demons and various ferocious animals, in addition to experiencing a number of marvelous and romantic adventures. This critical edition contributes to our understanding of post-Firdawsian Persian epic. The translation of this work into a Western language is therefore an invaluable source of reference for further scholarship.
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The Large Farāmarznāme (Farāmarznāme-ye bozorg), a poem from the Persian epic cycle dated to the late eleventh century, is hereby published for the first time in an English translation, in prose. The story tells how Farāmarz, a son of the famous Shāhnāme hero Rostam, conquers several provinces of India, before setting off on an extensive voyage over sea and land, leading his troops through a number of hazardous situations in various fictional countries. As a true epic hero, he displays his prowess in battle and in single combat against men, demons and various ferocious animals, in addition to experiencing a number of marvelous and romantic adventures. This critical edition contributes to our understanding of post-Firdawsian Persian epic. The translation of this work into a Western language is therefore an invaluable source of reference for further scholarship.
This book is made open access as part of the Knowledge Unlatched KU Select 2019: HSS Backlist Books

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This historical novel focuses on the events before and during the French Revolution. The main protagonists are Charles Darnay, an honest and virtuous French aristocrat sentenced indiscriminately to the guillotine, and Sydney Carton, a dissipated English barrister who vows to redeem his own soul by saving Darnay from the Parisian mob. Originally published in weekly instalments. Set in London and Paris at the time of the French Revolution, A Tale of Two Cities (1859) sees the causes and effects of that great social upheaval from an essentially private point of view. Dickens's characters are fictional, their responses individual, their political activity minimal, but all are caught up in a web woven by their own activities and responsibilities, and all are drawn to the Paris of the Terror. A Tale of Two Cities is Dickens's second historical novel, which he considered "the best story I have written"; it has his tightest and most shapely plot, and shows great narrative daring and experiment. This edition includes extensive notes on the background to the Revolution. Two appendices give variant readings and historical and fictional chronologies for the novel. - Back cover.

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William Dean Howells (1837-1920) was an American realist author and literary critic. He wrote his first novel, Their Wedding Journey, in 1871, but his literary reputation really took off with the realist novel A Modern Instance, published in 1882, which describes the decay of a marriage. His 1885 novel The Rise of Silas Lapham is perhaps his best known, describing the rise and fall of an American entrepreneur in the paint business. His social views were also strongly reflected in the novels Annie Kilburn (1888) and A Hazard of New Fortunes (1890). While known primarily as a novelist, his short story "Editha" (1905) - included in the collection Between the Dark and the Daylight (1907) - appears in many anthologies of American literature. Howells also wrote plays, criticism, and essays about contemporary literary figures such as Ibsen, Zola, Verga, and, especially, Tolstoy, which helped establish their reputations in the United States. He also wrote critically in support of many American writers. It is perhaps in this role that he had his greatest influence.

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A Treatise of Human Nature is a book by Scottish philosopher David Hume, first published in 1739–1740. The full title of the Treatise is 'A Treatise of Human Nature: Being an Attempt to Introduce the Experimental Method of Reasoning into Moral Subjects'. It contains the following sections: Book 1: "Of the Understanding" – An investigation into human cognition. Important statements of Skepticism. Book 2: "Of the Passions" – A treatment of emotions and free will. Book 3: "Of Morals" – A treatment of moral ideas, justice, obligations, benevolence.

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This book draws together for the very first time examples of the 'aesthetic pacifism' practised during the Great War by such celebrated individuals as Virginia Woolf, Siegfried Sassoon and Bertrand Russell. In addition, the book outlines the stories of those less well-known who shared the mind-set of the Bloomsbury Group when it came to facing the first 'total war'. The research for this study took five years, gathering evidence from all the major archives in Great Britain and abroad. This is the first time that such wide-ranging evidence has been placed together in order to paint a complete picture of this fascinating form of anti-war expression. Beginning with an introduction to the period and issues involved, the narrative commences with Bertrand Russell and Cambridge before moving on to cover the disparate responses of Bloomsbury, the reactions of other celebrated writers and artists before covering the more obscure participants. A themed conclusion draws the material to a close. With the Great War and the Bloomsbury Group continuing to exert a strong grip on the popular imagination, this detailed book is written with the general reader very much in mind, as well as the specialist.

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During the 19th century, throughout the Anglophone world, most fiction was first published in periodicals. In Australia, newspapers were not only the main source of periodical fiction, but the main source of fiction in general. Because of their importance as fiction publishers, and because they provided Australian readers with access to stories from around the world—from Britain, America and Australia, as well as Austria, Canada, France, Germany, New Zealand, Russia, South Africa, and beyond—Australian newspapers represent an important record of the transnational circulation and reception of fiction in this period. Investigating almost 10,000 works of fiction in the world’s largest collection of mass-digitized historical newspapers (the National Library of Australia’s Trove database), A World of Fiction reconceptualizes how fiction traveled globally, and was received and understood locally, in the 19th century. Katherine Bode’s innovative approach to the new digital collections that are transforming research in the humanities are a model of how digital tools can transform how we understand digital collections and interpret literatures in the past.

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