Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism as a historical phenomenon, grounded in the literary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become "local historians." The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doctrines of Beauty, including Dostoevsky’s own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky’s own view of history is illuminated in a new perspective, in which his concept of the "soil" is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism.
Browse by title
Dickens, Flaubert, Tolstoy
Slobodanka M. Vladiv-Glover
Irmengard Rauch and Gerald F. Carr
Selected Writings of Irmengard Rauch represents that portion of Irmengard Rauch’s articles which center on contemporary and historical Germanic linguistic phenomena. They thus speak to the principal North, East, and West Germanic dialects. Her authored books The Old High German Diphthongization: A Description of a Phonemic Change (1967); The Old Saxon Language: Grammar, Epic Narrative, Linguistic Interference (1992); Semiotic Insights: The Data Do the Talking (1998); The Gothic Language: Grammar, Genetic Provenance and Typology, Readings (2003, 2011); The Phonology/Paraphonology Interface and the Sounds of German Across Time (2008) stand on their own. Her contributions to linguistic fieldwork are documented in BAG—Bay Area German Linguistic Fieldwork Project (2015).
Rauch’s writings spanning half a century, from the early sixties to the present, encompass an array of subjects from the state of the art, to multiple language components, that is, segmental and prosodic phonological, morphological, syntactic, semantic, and pragmatic topics informing Germanic languages, as well as to literature and to nonverbal communication. Linguistic and interdisciplinary methods imbue all of her writings. At the University of Michigan, Ann Arbor, where Generative Grammar made early inroads, she was trained as an American structuralist, reaping the benefits of the functionalist Prague School, preceded by Saussure, the Neogrammarians, Darwin, Rask, Grimm (all 19th-century instigators of linguistics as a science), and of the founding of the LSA. Since the early seventies she opened her methods of analysis to the semiotic approach of Locke, Saussure, and Peirce. Consequently, Rauch’s writings exploit the combined approaches of linguistics and semiotics. These are the inextricable work-horses, which in combination, enhance her arguments detailing given linguistic problems that define the field of General and Germanic Linguistics and thus feed the multi-disciplinary research interests of both seasoned researchers and neophytes.
Literatur kooperativ erfahren
Der Band untersucht die Wirkung des Lesezirkels auf Lernerautonomie im Englischunterricht. Mithilfe einer Fallstudie zeigt die Autorin auf, dass der Lesezirkel Binnendifferenzierung im Englischunterricht mit Literatur ermöglicht und damit eine Antwort auf die gegenwärtige Herausforderung der wachsenden Heterogenität der Schülerschaft im kompetenzorientierten Englischunterricht bietet. Die Sicht der Lernenden schlüsselt autonomieförderliche Lernbedingungen auf. Entscheidungsfreiheit, Kooperation und regelmäßige individuelle und gemeinsame Reflexionsphasen sind die Bausteine einer kooperativ-binnendifferenzierenden Praxis, die die persönliche Interaktion zwischen Lernenden und literarischen Texten in den Mittelpunkt rückt und Lernerautonomie freisetzt.
Edited by Maria Eisenmann and Christian Ludwig
Gender diversity and the fact that gender is subject to perpetual renegotiations have become part of teachers’ and students’ lives. This volume tackles this issue by showing particularly innovative ways of teaching gender in the EFL classroom. Thus, the contributions include a broad variety of gender realities, such as trans* and cisgender, a cornucopia of texts and other media, a variety of literary genres, graphic novels, films and TV shows. The authors also illustrate cutting-edge approaches to teaching both literature and gender in the contemporary student-centered EFL classroom with different age groups.
Textual, Cultural and Theatrical Appropriations
This valuable volume adopts a multi-perspective approach to the historical and dramatic figure of Richard III during the "long" Romantic period. It takes into consideration his controversial reputation among historians of the time, as well as his changing place within the critical literature. It likewise examines nineteenth-century adaptations of Shakespeare's play. Above all, Nicoletta Caputo’s innovative book discusses contrasting stage interpretations of Richard as dramatis persona, in the performances of such iconic players as David Garrick, George Frederick Cooke and Edmund Kean. The vivid overall picture that emerges of Richard III is that of a figure who exerts an almost inexhaustible fascination on the Romantics. Nicoletta Caputo persuasively illustrates ̶ on the basis of abundant documentary evidence ̶ the surprising degree to which Richard is to be found at the very centre of the literary, theatrical, ideological and ethical debates, over a period of several decades. Such extraordinary centrality in turn sheds light on Romantic culture at large, and in particular on its understanding of Shakespeare, grounded above all in character analysis, often of a moral and political nature. The Romantics tended to reify Shakespeare's villainous king, extrapolating him from his dramatic context, and turning him into an autonomous, virtually living person.
(Keir Elam, University of Bologna)
Origins, Growth and Expansion
The second of two studies devoted to the interrelations of poetry and prose fiction, this volume examines the origins, development and flowering of the verse novel as a literary hybrid. While the first study was concerned with the different ways in which novelists have incorporated poetry into their fictions, what is analysed here is the manner in which poets have adopted novelistic genres and techniques and adapted these to the prosodic requirements of rhyming, blank and free verse in order to produce original literary blends. The novel may thus acquire a fresh dimension by being re-immersed in its original verse narrative sources and poetry be rendered more accessible to a wider reading public.
Beginning with Pushkin, who was the first to coin the term «verse novel» to describe his masterpiece Eugene Onegin, the first section of this study considers a number of nineteenth-century Romantic and Victorian verse narratives, as well as some mid-twentieth-century experimental works, which can be seen to have contributed to the rise of the verse novel. The second, much longer, section concentrates on the period 1980-2010, which witnessed the full fruition of the verse novel as a multicultural fictional genre. A selection of some two dozen verse novels from this period, notably those by Anthony Burgess, Anne Carson, Glyn Maxwell, Les Murray, Vikram Seth and Derek Walcott, are discussed in terms of both their novelistic and their prosodic merits.
The Rhetoric of Dissent in American Writing
Edited by Michele Bottalico
No! In Whispers is based on the assumption that dissent, particularly in literary writing, is not necessarily shouted. Rather, it is conveyed by means of persuasion strategies, through subtle transversal allusions and an undercurrent of moral analysis and protest, through what can metaphorically be defined as ‘whispers’ that penetrate the readers’ conscience and are meant to promote change. The essays in this book explore the rhetoric of dissent in a range of texts that include letters, novels, poems and nonfiction, mostly focusing on selected works by such authors as Abigail Adams, Nathaniel Hawthorne, Mary Ovington, Toni Morrison, Adrienne Rich, Thomas Pynchon and Don DeLillo. The last two chapters, devoted to nonfiction, consider Edward Said’s memoir and the debate about the New Musicology. The authors come from four different countries and have largely distinct cultural backgrounds and scientific interests; thus they analyze the statements of dissent from various angles utilizing different methodological approaches. They concur in outlining the image of a country that has been historically torn by the tension between what it is and what it was meant to be.
Representations of Women and Authorial Boundaries
This feminist study is an innovative reassessment of Brian Moore’s five novels featuring eponymous heroines. The author reviews previous interpretations, exposing their sexist bias. Highlighting Moore’s empathetic insights, she also discusses the novelist’s limitations. She compares Moore’s heroines to Flaubert’s Emma Bovary, reinterpreted by Mieke Bal, Tolstoy’s Anna Karenina revisioned by Aritha van Herk, and to female characters created by Canadian women writers. Rejecting biocriticism, the study focuses on Moore’s biblical, Victorian and modernist inspirations, and his indebtedness to film. Ideas of female thinkers illuminate the condition of Moore’s female protagonists.
‘Pagan, Turk and Jew’ in English Popular Culture, 1780–1845
This book brings together a range of texts and events: nineteenth-century novels and plays, riots on the streets and stages of London, popular games, artwork, criminal profiles and political economy. Tying these topics together is the spectacle created around «Pagan, Turk and Jew», a phrase appearing as early as 1548, and one that came to denominate fictional stand-ins for Irish Catholics, Muslims and Jews during the long nineteenth century.
Beginning with the Gordon riots of 1780, these «Others» were objectified as exotic bodies and used oppositionally against one another, both in policy and legislation and in cultural representations. Surveying literary works by Maria Edgeworth and Charles Dickens, as well as the work of lesser known figures such as Richard Cumberland, John Thomas Smith and Patrick Colquhoun, the author studies the role played by racial marking and ethnic stereotyping in the solidification of a post-riot British social body through both real and virtual spaces. Unlike other studies of minority experience and culture that concern a single population, this book casts a wider net, believing racist and religious bias to be a reactionary dynamic, prey to a host of struggles occurring simultaneously that ricochet off one another in the contestatory culture of the Romantic era.
Intersecting Times, Spaces, Languages
Edited by Daniela Guardamagna
This book addresses the memory of Rome: the dialectic between the glorious historical past of the Roman Republic and the Roman Empire and its echoes, representations and interpretations in the works of Shakespeare. The essays explore multiple layers of time and place in relation to Shakespearean plays: throughout the world (from Romania to Japan) and down the centuries, in the arts (paintings, music) and in dramatic performances.
Individual essays (by Michel Dobson, Peter Holland, Richard Wilson and Piero Boitani, among others) address multiple aspects of the complex relationship between two countries (England and Italy) and two moments in time (the Ancient Roman and Early Modern periods). Essays include analyses of less studied works (e.g. Cymbeline), rewritings of Roman narratives (e.g. Titus Andronicus and The Rape of Lucrece), modern enactments of Shakespearean performances around the world, the representation of Shakespearean myths in Renaissance paintings, and the music accompanying the text of Roman plays.