tag:blogger.com,1999:blog-44126231760570372812024-03-21T11:33:32.390-04:00NAVSA Member PublicationsFelluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comBlogger69125tag:blogger.com,1999:blog-4412623176057037281.post-49360335659993359782014-05-14T09:09:00.003-04:002014-05-20T09:49:30.933-04:00New Blog Location: http://www.navsa.org<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Hello all,</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">We are excited to announce that the main NAVSA website has
been updated and will now incorporate our blogs. From now on all blog posts for
Of Victorian Interest and NAVSA Member Publications will appear on <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.navsa.org/">http://www.navsa.org</a></span></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">. Requesting blog
posts will stay the same; you should all continue to e-mail Dino Franco Felluga
with your updates, cfps, publications, etc. The Twitter feed and updates will
also remain the same. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Best!</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-71770957634818048272014-03-24T00:17:00.000-04:002014-03-27T09:45:18.865-04:00Outlaw Fathers in Victorian and Modern British Literature: Queering Patriarchy<div class="MsoNormal">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=4412623176057037281" name="_GoBack"></a>By Helena Gurfinkel</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“…[A] considerable work of scholarship…<i style="mso-bidi-font-style: normal;">Outlaw Fathers in Victorian and Modern British Literature: Queering
Patriarchy </i>represents an admirable attempt to undertake a dialogue
with psychoanalysis around issues of patriarchy and maleness…illuminate[s]
aspects of the Victorian novel (and its historical struggle with class and
gender) and of psychoanalytic theory (to some extent another reaction to the
same historical forces) and argue[s] against any essentialist reduction of the
multilevel realities within each to rigid forms and precepts.” –Lewis Allen
Kirshner, clinical professor of psychiatry, Harvard Medical School<br />
<br />
“<i style="mso-bidi-font-style: normal;">Outlaw Fathers </i>delights by
shattering paradigms. Employing the negative Oedipus complex, Gurfinkel
challenges our easy definition of patriarchy by uncovering the queer patriarchy
of queer fathers and sons [and] enlarges the category of the marriage plot by
adding to the heteronormative definition a canon of queer marriage plots from
Anthony Trollope through Samuel Butler to Alan Hollinghurst. This severing of
masculinity from aggression and toward nurturing is especially valuable as we
see the rise of gay marriage and gay parenting.” –Herbert Sussman,
emeritus professor of English at Northeastern University<br />
<br />
“In <i style="mso-bidi-font-style: normal;">Outlaw Fathers</i>, Helena
Gurfinkel is doing subtly audacious work at the intersection of queer theory
and Victorian and modernist studies. In a series of lucidly argued readings of
important nineteenth- and twentieth-century British texts, she shows how they
elaborate, against the dominant narratives of the Oedipus complex and the
marriage plot, the queerer narratives of the negative Oedipus complex and the
father-son marriage plot. But she does not just reveal this literary
counter-tradition: against a certain hostility toward Freud in Foucauldian
queer theory, she contributes incisively and elegantly to a theoretical
counter-tradition that, seeing Freud himself as an outlaw father, realizes the
queer possibilities of psychoanalysis.” –Joseph Litvak, professor and chair of
the Department of English at Tufts University</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Published by Fairleigh Dickinson University Press. Available
for pre-order from <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://rowman.com/">rowman.com</a></span></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-68435117317563847642014-02-13T00:10:00.002-05:002014-02-13T00:10:41.623-05:00Denotatively, Technically, Literally Spec. issue of Representations 125 (Winter 2014)<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZhk_arvm-wBys1jeKvqVzt3czp9UPyuwo7MaB6TA3GvweXXq13XF4K66mfXKJ-nxnw43q6XSus1_4ffjd31dBLU98x4SZydBIkHTE9fmXxHqU5qlw4TolLfewVjDfzjPt7zaoWyEP09g/s1600/Screen+Shot+2014-02-04+at+2.43.48+PM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZhk_arvm-wBys1jeKvqVzt3czp9UPyuwo7MaB6TA3GvweXXq13XF4K66mfXKJ-nxnw43q6XSus1_4ffjd31dBLU98x4SZydBIkHTE9fmXxHqU5qlw4TolLfewVjDfzjPt7zaoWyEP09g/s1600/Screen+Shot+2014-02-04+at+2.43.48+PM.png" height="200" width="158" /></a></div>
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Edited by Elaine Freedgood and Cannon Schmitt</div>
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Denotative, literal, and technical language—apparently
transparent and lacking in resonance—seems to be the opposite of literary
language. A vigorous reading of the former, this special issue of Representations argues,
should seek to realize its opacity and difficulty, its nonidentity with itself.
To do so requires a revised and expanded sense of denotation, a rethinking of
reference, the dereification of writing, an appeal to more expansive and
heterodox archives, a historicism that forestalls or delays the figural, and
more reading. Unlike recent literary critical attempts to restrict the field of
reading, the practices sketched here seek to remove all limits to that which
can be read, researched, and made into meaning. Contributors include Freedgood
and Schmitt as well as Rachel Sagner Buurma, Margaret Cohen, Ian Duncan, and
Laura Heffernan.</div>
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Available through <a href="http://ucpressjournals.com/journal.php?j=rep">University of California Press</a></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-61091535669535852432014-02-10T10:05:00.002-05:002014-02-10T10:05:58.501-05:00Charles Dickens's Our Mutual Friend: A Publishing History<div class="MsoNormal">
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; text-align: center;">By Sean Grass</span></div>
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<span lang="EN-GB"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Even within the context of Charles
Dickens's history as a publishing innovator, <i style="mso-bidi-font-style: normal;">Our Mutual Friend</i> is notable for what it reveals about Dickens as
an author and about Victorian publishing. Marking Dickens's return to the
monthly number format after nearly a decade of writing fiction designed for
weekly publication in <i style="mso-bidi-font-style: normal;">All the Year Round</i>,
<i style="mso-bidi-font-style: normal;">Our Mutual Friend</i> emerged against the
backdrop of his failing health, troubled relationship with Ellen Ternan, and
declining reputation among contemporary critics. In his subtly argued
publishing history, Sean Grass shows how these difficulties combined to make <i style="mso-bidi-font-style: normal;">Our Mutual Friend</i> an extraordinarily odd
novel, no less in its contents and unusually heavy revisions than in its
marketing by Chapman and Hall, its transformation from a serial into British
and U.S. book editions, its contemporary reception by readers and reviewers,
and its delightfully uneven reputation among critics in the 150 years since
Dickens’s death.</span></span></div>
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<span lang="EN-GB"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />
Enhanced by four appendices that offer contemporary accounts of the Staplehurst
railway accident, information on archival materials, transcripts of all of the
contemporary reviews, and a select bibliography of editions, Grass’s book shows
why this last of Dickens’s finished novels continues to intrigue its readers and
critics.</span></span></div>
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<span lang="EN-GB"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“This book represents an impressive
scholarly achievement and will be the authoritative critical work on the novel
for years to come. The background, reception, textual history and afterlives of
this most sophisticated of Dickens novels are analyzed with both rigor and
gusto. An appendix reprinting all known reviews of the text is indispensable.
Our Mutual Friend and its fortunes are brought alive in these pages with
devotion and detail; Grass has done a great service to Dickens's last finished
novel and to Dickens studies more generally.”--Juliet John, Royal Holloway,
University of London, UK and author of <i style="mso-bidi-font-style: normal;">Dickens
and Mass Culture</i></span></span></div>
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<span lang="EN-GB"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available from <a href="http://www.ashgate.com/isbn/9780754669302">Ashgate </a></span></span></div>
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<span lang="EN-GB"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-15853358656868798572014-01-21T11:10:00.000-05:002014-01-21T11:11:11.421-05:00A Publisher's Paradise: Expatriate Literary Culture in Paris, 1890-1960<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWkaZz9C2cK3PuMDsyOfxY6QkS7WBxUIFmn8TQYB5ngQwTiUcVxxIAgisfkY-S1i6-XhLoThz0NYPQ7g5zN1kMaiqizbNfBwsYf06XsJ6dwyYLgb6csaEz34A11B7DWkTvD3NOvv3TJs/s1600/image001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWkaZz9C2cK3PuMDsyOfxY6QkS7WBxUIFmn8TQYB5ngQwTiUcVxxIAgisfkY-S1i6-XhLoThz0NYPQ7g5zN1kMaiqizbNfBwsYf06XsJ6dwyYLgb6csaEz34A11B7DWkTvD3NOvv3TJs/s1600/image001.jpg" height="200" width="140" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Collette Colligan</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">From 1890 to 1960, some of Anglo-America’s most heated
cultural contests over books, sex, and censorship were staged not at home, but
abroad in the City of Light. Paris, with its extraordinary liberties of
expression, became a special place for interrogating the margins of sexual
culture and literary censorship, and a wide variety of English language “dirty
books” circulated through loose expatriate publishing and distribution
networks.<br />
<br />
A Publisher’s Paradise explores the political and literary dynamics that
gave rise to this expatriate cultural flourishing, which included everything
from Victorian pornography to the most daring and controversial modernist
classics. Colette Colligan tracks the British and French politicians and
diplomats who policed Paris editions of banned books and uncovers offshore
networks of publishers, booksellers, authors, and readers. She looks closely at
the stories the “dirty books” told about this publishing haven and the smut
peddlers and literary giants it brought together in transnational cultural
formations. The book profiles an eclectic group of expatriates living and
publishing in Paris, from relatively obscure figures such as Charles
Carrington, whose list included both The Picture of Dorian Gray and
the pornographic novel Randiana, to bookshop owner Sylvia Beach, famous
for publishing James Joyce’s Ulysses in 1922.<br />
<br />
A Publisher’s Paradise is a compelling exploration of the little-known
history of foreign pornography in Paris and the central role it played in
turning the city into a modernist outpost for literary and sexual vanguardism,
a reputation that still lingers today in our cultural myths of midnight in Paris.</span><span style="font-family: Times; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"With creative researching techniques, wit, and skill,
Colligan brings to life the little known, understudied world of booklegging and
book laundering, based in the French capital, but central to the development of
Anglo-American modernist writing at large. A Publisher’s Paradise makes
a significant scholarly contribution by taking ‘dirty books’ seriously and
showing their significance to larger political and cultural conflicts, and by
connecting dots that others have not connected."—Brooke Blower, author of <i style="mso-bidi-font-style: normal;">Becoming Americans in Paris: Transatlantic
Politics and Culture between the World Wars</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This book is regularly available through <a href="https://www.umass.edu/umpress/title/publishers-paradise">University of </a></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="color: rgba(0, 0, 0, 0);"><a href="https://www.umass.edu/umpress/title/publishers-paradise">MassachusettsPress</a></span>. However, </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">the </span><a href="https://www.umass.edu/umpress/title/publishers-paradise" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">University of </a><span style="color: windowtext; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="https://www.umass.edu/umpress/title/publishers-paradise">MassachusettsPress</a> </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">is offering a special discount for the new year. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> Please use promo code S545 when ordering directly
through UMass Press to receive a New Year Special Discount of 30% now through
the end of February.</span></div>
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<!--EndFragment-->Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-37914487350567398822014-01-21T10:42:00.000-05:002014-01-21T10:42:00.561-05:00Representing the National Landscape in Irish Romanticism<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKo_mLKx00kY8H6z-4WcDDeeIIQ29DWNc7w0YqU-uclpxLOACEqAUVPmiBzh85e6k-AYzYc8q9ewTQaaPEItgshzYutN65QECOIM2fsp7WFvQQROhO4OGWFbiLVSG9mLJIDgpqmM8_nCI/s1600/representing.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKo_mLKx00kY8H6z-4WcDDeeIIQ29DWNc7w0YqU-uclpxLOACEqAUVPmiBzh85e6k-AYzYc8q9ewTQaaPEItgshzYutN65QECOIM2fsp7WFvQQROhO4OGWFbiLVSG9mLJIDgpqmM8_nCI/s1600/representing.jpg" height="200" width="133" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Julia M. Wright</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ireland as a nation has come to be defined in part by an
ideology which conflates national identity with the land. From the Irish
Revival’s idealization of Irish peasants close to the land to the long history
of disputes over ownership and rule of the land, notions of the land have
become particularly bound up with conceptions of what Ireland is and what it is
to be Irish. In this book, Wright considers this fraught relationship between
land and national identity in Irish literature. In doing so, she presents a new
vision of the Irish national landscape as one that is vitally connected to
larger geographical spheres. By exploring issues of globalization,
international radicalism, trade routes, and the export of natural resources,
Wright is at the cutting edge of modern global scholarly trends and concerns.
In considering texts from the Romantic era such as Leslie’s <i>Killarney</i>,
Edgeworth’s "Limerick Gloves," and Moore’s Irish Melodies, Wright
undercuts the nationalist myth of a "people of the soil" and explores
instead nationalist ideas of an international Ireland. Reigniting the field of
Irish Romanticism, Wright presents original readings which call into question
politically motivated mythologies while energizing nationalist conceptions that
reflect transnational networks and mobility.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"A major contribution to Irish literary and
intellectual history. Wright’s astute and incisive analysis presents original
perspectives on Irish literary history, reveals significant new tropes and
connections within and beyond Irish literary tradition, traces the textual
genealogies of iconic sites like Glendalough and Killarney, and explores
neglected works by and interconnections among writers such as Charlotte Brooke,
William Drennan, William Preston, Thomas Moore, Alicia Lefanu, John and Michael
Banim, Lady Morgan, Denis Florence MacCarthy, and lesser known
writers."—Mary Helen Thuente, author of <i>The Harp Re-Strung: The United
Irishmen and the Rise of Irish Literary Nationalism</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"The book combines incredible archival research with
theoretical nous. It deals with many texts that have not been substantially
written about before, and draws fascinating links between texts previously not
fully noticed."—James Kelly, editor of <i>Ireland and Romanticism:
Publics, Nations, and Scenes of Cultural Production</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i><br /></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available through <a href="http://syracuseuniversitypress.syr.edu/spring-2014/representing-national-landscape-irish-romanticism.html">Syracuse University Press</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-58865005291611641102014-01-15T22:00:00.001-05:002014-01-15T22:00:51.583-05:00Reform Acts: Chartism, Social Agency, and the Victorian Novel, 1832–1867<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkFHxXfZkk2_oelUxgS6BmKYCPWjI3ncFM45vhBU6XRqMp0LsdFuMH3CLsf4I3nDrgsIr2cFxilOKyWJMKgPRBF6FzMJ73QYHYzgbYz7cyk4vnHAtvbKHJx-joopwMlQb91KZxS5p_sI/s1600/9781421412085.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkFHxXfZkk2_oelUxgS6BmKYCPWjI3ncFM45vhBU6XRqMp0LsdFuMH3CLsf4I3nDrgsIr2cFxilOKyWJMKgPRBF6FzMJ73QYHYzgbYz7cyk4vnHAtvbKHJx-joopwMlQb91KZxS5p_sI/s1600/9781421412085.jpg" height="200" width="133" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Chris R. Vanden Bossche</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Reform Acts offers a new approach to prominent
questions raised in recent studies of the novel. By examining social agency
from a historical rather than theoretical perspective, Chris R. Vanden Bossche
investigates how particular assumptions involving agency came into being.
Through readings of both canonical and noncanonical Victorian literature, he
demonstrates that the Victorian tension between reform and revolution framed
conceptions of agency in ways that persist in our own time.<br />
<br />
Vanden Bossche argues that Victorian novels sought to imagine new forms of
social agency evolving from Chartism, the dominant working-class movement of
the time. Novelists envisioned alternative forms of social agency by employing
contemporary discourses from Chartism's focus on suffrage as well as the means
through which it sought to obtain it, such as moral versus physical force, land
reform, and the cooperative movement.<br />
<br />
Each of the three parts of Reform Acts begins with a chapter that
analyzes contemporary conversations and debates about social agency in the
press and in political debate. Succeeding chapters examine how novels envision
ways of effecting social change, for example, class alliance in Barnaby
Rudge; landed estates as well as finely graded hierarchy and politicians inConingsby and Sybil;
and reforming trade unionism in Mary Barton andNorth and South. By
including novels written from a range of political perspectives, Vanden Bossche
discovers patterns in Victorian thinking that are easily recognized in today's
assumptions about social hierarchy.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"At once boldly revisionist and meticulously argued, Reform
Acts re-orients our approach to class politics and ideological criticism.
Asking how the Victorians themselves understood the concept of agency, Vanden
Bossche traces dynamic interchanges among class antagonists across multiple
genres to delineate the shape of social change in the nineteenth
century."—Ellen Rosenman, University of Kentucky</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Purchase at <a href="http://jhupbooks.press.jhu.edu/ecom/MasterServlet/GetItemDetailsHandler?iN=9781421412085&qty=1&viewMode=3&loggedIN=false&JavaScript=y">John Hopkins University Press </a>or <a href="http://www.amazon.com/Reform-Acts-Chris-Vanden-Bossche-ebook/dp/B00GTSPFOI/ref=sr_1_1?ie=UTF8&qid=1389841200&sr=8-1&keywords=Reform+Acts%3A+Chartism">Amazon</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-27979563776129349732013-12-29T19:51:00.001-05:002014-01-05T19:15:55.661-05:00Habit in the English Novel, 1850-1900: Lived Environments, Practices of the Self<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMn1M_rpgbyrXtQCuUH5PuR7AVqLSlsACbHZF9AsnZzzuNsm48xmfa0QEZ16ad0lg33kKeUHBqWhm_vDkU3d07T4i0drbeHOE_WTOOaK_Vq_rfkiBmuXptGZrcgTAeZNSeaFGGcLih0EM/s1600/9781137349392.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMn1M_rpgbyrXtQCuUH5PuR7AVqLSlsACbHZF9AsnZzzuNsm48xmfa0QEZ16ad0lg33kKeUHBqWhm_vDkU3d07T4i0drbeHOE_WTOOaK_Vq_rfkiBmuXptGZrcgTAeZNSeaFGGcLih0EM/s200/9781137349392.jpg" height="200" width="130" /></a></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Sean O'Toole</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The ancient philosophical concept of habit fixated and
unsettled the Victorians in profoundly new ways, as advances in physiology and
evolutionary theory sparked far-reaching debates about the threat of automatism
and the proper mental training of the will. This book suggests that
nineteenth-century novelists not only echoed these debates but intervened in
them in unique, transformative, and strikingly modern ways. In attending
closely to the enabling, generative potential of habit and its role in the
creation of new perceptions and social identities, novelists from Dickens to
James bequeathed a far more complex conception of the category than has yet
been acknowledged, allowing for a rich phenomenology of the unpredictable,
changeable modes of modern existence. Habit in the English Novel rethinks
the relationship between nineteenth-century fiction and sciences of the mind,
and reconsiders what we have come to assume about the Victorian novel,
including our own critical habits, in the wake of Freud and cultural modernism.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"This fascinating study explores how changing attitudes
to habit in the latter part of the nineteenth century had profound fictional
and theoretical implications. Habit in the English Novel, 1850-1900 includes
some striking and original analysis of nineteenth-century literature, and
alerts us to the complexity and profound significance of an apparently ordinary
and ubiquitous human trait. This is an important book, which raises key
questions about the relationship between literature and psychology, and casts
new light on familiar material."--Jenny Bourne Taylor, University of
Sussex, UK</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available for purchase from <a href="http://www.blogger.com/%3Chttp://www.amazon.com/Habit-English-Novel-1850-1900-Nineteenth-Century/dp/1137349395%3E">Amazon</a> or <a href="http://www.blogger.com/%3Chttp://us.macmillan.com/habitintheenglishnovel18501900/SeanOToole%3E">Palgrave</a>.</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-28113195416069039042013-11-14T00:17:00.001-05:002013-11-14T00:17:43.717-05:00Anglophone Indian Women Writers, 1870-1920<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Lca0k8ArrHc7FzqH8IXqzy77wJjCvs9OWG2YZdzypL3dUSRAi7U_RPKUES7G4G1j144OzBjySlKRE4CdWYLS1xIIfbevi7walU0zS0zkw5B3uQ_7r_pXN9f-lEtbgJ3BlSp8O93UGMs/s1600/9781409449256.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Lca0k8ArrHc7FzqH8IXqzy77wJjCvs9OWG2YZdzypL3dUSRAi7U_RPKUES7G4G1j144OzBjySlKRE4CdWYLS1xIIfbevi7walU0zS0zkw5B3uQ_7r_pXN9f-lEtbgJ3BlSp8O93UGMs/s200/9781409449256.jpg" width="133" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Ellen Brinks</span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ellen Brinks examines the Anglophone literary works of Toru
Dutt, Krupabai Satthianadhan, Pandita Ramabai, Cornelia Sorabji, and Saroini
Naidu, women deeply rooted in and connected to both South Asian and British
cultures who found large audiences in the West and in India in their public
roles as writers, reformers, activists, and cultural translators. The
received narrative that British imperialism in India was perpetuated with
little or no cultural contact between the colonizers and the colonized population
is complicated by all five women's professional and personal lives.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Brinks’s close readings of these texts suggest new ways of
reading a range of issues central to nineteenth-century transnational and
postcolonial studies: the relationship of colonized women to the metropolitan
(literary) culture; Indian and English women’s separate and joint engagements
in reformist and nationalist struggles; the “translatability” of culture; the
articulation strategies and complex negotiations of self-identification of
Anglophone Indian women writers; and the significance and place of cultural
difference. Informed by extensive archival research, Brinks’s close
readings of their works suggest new ways of understanding late nineteenth- and
early-twentieth-century English-language literary history, women's history, and
the history of empire.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available through <a href="http://www.ashgate.com/isbn/9781409449256">Ashgate</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-8799626176541941232013-11-10T20:02:00.000-05:002013-11-10T20:02:27.026-05:00After Darwin: Animals, Emotions, and the Mind<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-5yOswzhKYQigDa2UQWGt7ICnmDeZ3cwZMkDL0FiEVvAOd6ZZctQFSY1Z2jI29qbgl3QBD8tyXqAqkVntovJumsA9tkIePppqU5L7adhFy6fAvJYYZz2GfInLbmfNwCE0rJlIpieoSWg/s1600/51Xne9rNjQL._SY300_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-5yOswzhKYQigDa2UQWGt7ICnmDeZ3cwZMkDL0FiEVvAOd6ZZctQFSY1Z2jI29qbgl3QBD8tyXqAqkVntovJumsA9tkIePppqU5L7adhFy6fAvJYYZz2GfInLbmfNwCE0rJlIpieoSWg/s200/51Xne9rNjQL._SY300_.jpg" width="125" /></a></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Edited by Angelique Richardson</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“What is emotion?” pondered the young Charles Darwin in his
notebooks. How were the emotions to be placed in an evolutionary framework? And
what light might they shed on human-animal continuities? These were among the
questions Darwin explored in his research, assisted both by an acute sense of
observation and an extraordinary capacity for fellow feeling, not only with
humans but with all animal life. After Darwin: Animals, Emotions, and the Mind
explores questions of mind, emotion and the moral sense which Darwin opened up
through his research on the physical expression of emotions and the
human–animal relation. It also examines the extent to which Darwin’s ideas were
taken up by Victorian writers and popular culture, from George Eliot to the Daily
News. Bringing together scholars from biology, literature, history, psychology,
psychiatry and paediatrics, the volume provides an invaluable reassessment of
Darwin’s contribution to a new understanding of the moral sense and emotional
life, and considers the urgent scientific and ethical implications of his ideas
today.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Copies are available for purchase through <a href="http://www.rodopi.nl/senj.asp?BookId=CLIO+93">Rodopi</a> and <a href="http://www.amazon.com/After-Darwin-Animals-Emotions-Mind/dp/9042037474/ref=sr_1_1?ie=UTF8&qid=1384131645&sr=8-1&keywords=After+Darwin%3A+Animals%2C+Emotions%2C+and+the+Mind">Amazon</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-74547063367701891612013-11-03T21:23:00.000-05:002013-11-03T21:23:43.169-05:00Wilkie Collins and Copyright: Artistic Ownership in the Age of the Borderless Word<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3df0QAUKwIHxbIOqfIBFu0J_ucTUlp7wVkDydMNBgI5qgx_760BlS2r8FEPntL8gLnOZmNjVHCODXK-oSaMhKh7jQyHlRzMIee9HOtWtBq5075OEqOi7a7obXSdpYUKf3gUGBWHnwuNA/s1600/Bisla-Wilkie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3df0QAUKwIHxbIOqfIBFu0J_ucTUlp7wVkDydMNBgI5qgx_760BlS2r8FEPntL8gLnOZmNjVHCODXK-oSaMhKh7jQyHlRzMIee9HOtWtBq5075OEqOi7a7obXSdpYUKf3gUGBWHnwuNA/s200/Bisla-Wilkie.jpg" width="132" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Sundeep Bisla</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the works and letters of his later years, Wilkie Collins
continually expressed his displeasure over copyright violations. <i style="mso-bidi-font-style: normal;">Wilkie Collins and Copyright: Artistic
Ownership in the Age of the Borderless Word</i> by Sundeep Bisla asks
whether that discontent might not also have affected the composition of
Collins’s major early works of the 1850s and 60s. Bisla’s investigation into
this question, surprisingly, does not find an uncomplicated author
uncomplicatedly launched on a defense of what he believes to be rightfully his.
Instead, Bisla finds an author locked in fierce negotiation with the
theoretical underpinnings of his medium, the written word, underpinnings best delineated
by the twentieth-century deconstructionist Jacques Derrida. Collins’s
discomfort with copyright violation comes to be in tension with his budding
understanding of the paradoxical nature of the “iterability” of the word, a
nature presenting itself as a conflict between the settling and breaking
manifestations of linguistic repetition. In his efforts at resolving this
paradox, Collins adopts a mechanism of recursive self-reflexivity through which
each story reflects upon itself to a more fundamental extent than had its
predecessor. This self-reflexive exploration has significant consequences for
the author’s own iterability-menaced subjectivity, a striking example of which
can be seen in the fact that the name being sought in Collins’s last masterpiece, The
Moonstone, will end up being “MY OWN NAME”—in other words, “WILKIE COLLINS.”</span></div>
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<span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;">
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">“</span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Wilkie Collins and Copyright</i><span class="apple-converted-space" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">is an elegant, intelligent, and impressive work. It is certain to be considered an important, perhaps even classic, Collins study. Sundeep Bisla is an impeccable researcher and beautiful writer. He provides a fresh interpretation of Collins as a novelist whose highly self-conscious efforts to manipulate language are set against the background of the particular material conditions for Victorian authorship, especially those governing copyright.” —Lauren M. E. Goodlad, author of</span><span class="apple-converted-space" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The Victorian Geopolitical Aesthetic: Realism, Sovereignty and Transnational Experience.</i></div>
<div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;">
<i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></i></div>
<div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available for purchase from<a href="http://www.amazon.com/Wilkie-Collins-Copyright-Sundeep-Bisla/dp/0814212352/ref=sr_1_fkmr1_1?ie=UTF8&qid=1383531552&sr=8-1-fkmr1&keywords=Wilkie+Collins+and+Copyright+Artistic+Ownership+in+the+Age+of+the+Borderless+Word"> Amazon</a> and <a href="https://ohiostatepress.org/index.htm?books/book%20pages/Bisla%20Wilkie.html">Ohio State University Press</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-79415736310279566162013-10-30T09:22:00.004-04:002013-10-30T09:22:45.821-04:00States of Emergency: Essays on Culture and Politics<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4YGnOq9URskDVrgVWgfvHurKoj_Mhzc4ju22FnRdlXRvB8uUNiFwtuGY-uazW4jUHk3YoOmosWHhLBkE2iz3O4Pdm9YX53-A-Q9-zOR69WGjHGRaVt1nHGqZaJNDQa_R_CuWozOrWgRE/s1600/9780253010193_med.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4YGnOq9URskDVrgVWgfvHurKoj_Mhzc4ju22FnRdlXRvB8uUNiFwtuGY-uazW4jUHk3YoOmosWHhLBkE2iz3O4Pdm9YX53-A-Q9-zOR69WGjHGRaVt1nHGqZaJNDQa_R_CuWozOrWgRE/s200/9780253010193_med.jpg" width="133" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Patrick Brantlinger </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In his latest book, Patrick Brantlinger probes the state of
contemporary America. Brantlinger takes aim at neoliberal economists, the Tea
Party movement, gun culture, immigration, waste value, surplus people, the war
on terror, technological determinism, and globalization. An invigorating return
to classic cultural studies with its concern for social justice and challenges
to economic orthodoxy, States of Emergency is a delightful mix of
journalism, satire, and theory that addresses many of the most pressing issues
of our time.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">States of Emergency </i>consists
of twelve essays ranging from top-down class conflict in the U.S. to
immigration (“What’s the Matter with Mexico?”) to the war on terror to
unemployment and homelessness among veterans (“Army Surplus”) to the World
Social Forum. Brantlinger’s focus is on social justice; he explores, for
example, how and why societies exclude certain segments of their populations
from full rights and recognition, sometimes to the extent of deeming them
“surplus” populations worthy only of extermination. Five of the essays
were invited contributions to journals or to other people’s anthologies.
These include “Shooters,” about the Virginia Tech massacre, invited for the
inaugural issue of the on-line South Korean journal Situations, and
“Shopping on Red Alert: The Rhetorical Normalization of Terror,” which
first appeared in Iraq War Culture, edited by Cynthia Fuchs and Joe
Lockard. The essay on the Tea Party ends with a short, dramatic excursion
to Wonderland, and “The State of Iraq” is Brantlinger’s attempt to out-Twain
Mark Twain. The volume’s title comes from Walter Benjamin: “The
tradition of the oppressed teaches us that the ‘state of emergency’ in which we
live is not the exception but the rule.”</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>States of Emergency</i> is available for purchase at <a href="http://www.iupress.indiana.edu/product_info.php?products_id=806931">Indian University Press </a>and <a href="http://www.amazon.com/States-Emergency-Essays-Culture-Politics/dp/0253010195/ref=sr_1_3?ie=UTF8&qid=1383139046&sr=8-3&keywords=Patrick+Brantlinger">Amazon</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-20034362328332817532013-09-05T11:17:00.002-04:002013-09-05T11:17:11.534-04:00Darwin's Bards: British and American Poetry in the Age of Evolution<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijn2A4PpBWeQvO6SfGqGLdbW_lxa8Ij5MfaetrUBLSeoqu2SMkrw0feU-0xM4LPQmtjwCRMZuxCuepTcsZq0TsJG8nKTqIjmqXObjlUTnd-EDd8Dh6WP-YTBTfQBQrJ77WHADufn5SZ7I/s1600/519C1PfSyTL._SY346_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijn2A4PpBWeQvO6SfGqGLdbW_lxa8Ij5MfaetrUBLSeoqu2SMkrw0feU-0xM4LPQmtjwCRMZuxCuepTcsZq0TsJG8nKTqIjmqXObjlUTnd-EDd8Dh6WP-YTBTfQBQrJ77WHADufn5SZ7I/s200/519C1PfSyTL._SY346_.jpg" width="137" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By John Holmes<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Newly available in
paperback, <i style="mso-bidi-font-style: normal;">Darwin’s Bards</i> is the
first comprehensive study of how poets have responded to the ideas of Charles
Darwin in over fifty years. John Holmes argues that poetry can have a profound
impact on how we think and feel about the Darwinian condition. Is a Darwinian
universe necessarily a godless one? What is our own place in the Darwinian
universe, and our ecological role here on Earth? How does our kinship with
other animals affect how we see them and ourselves?<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Holmes explores the ways
in which some of the most perceptive and powerful British and American poets of
the last hundred-and-fifty years have grappled with these questions, from
Alfred Tennyson and Robert Browning, through Thomas Hardy and Robert Frost, to
Ted Hughes, Thom Gunn, Amy Clampitt and Edwin Morgan. Including over fifty
poems and substantial extracts from many more, Darwin’s Bards gives us the chance
to experience for ourselves what it can mean to live in a Darwinian world.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“Darwin’s Bards is a bracing, original and exciting contribution to our
understanding and appreciation of the cultural impact of Darwinism; indeed,
John Holmes is to be commended for writing an exhilarating and genuinely
interdisciplinary study with revealing insights on every page.” – Roger
Ebbatson, <i>The Thomas Hardy</i> <i>Journal</i><!--EndFragment--></span><br />
<i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></i>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Available on <a href="http://www.amazon.com/Darwins-Bards-British-American-Evolution/dp/074869207X/ref=sr_1_2?ie=UTF8&qid=1378393869&sr=8-2&keywords=Darwin%27s+Bards">Amazon</a> and <a href="http://www.euppublishing.com/">Edinburgh University Press</a></span><br />
<span style="font-family: Helvetica;"><br /></span>Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-36996605704242341372013-09-05T11:08:00.001-04:002013-09-05T11:08:41.657-04:00Moving Images: Nineteenth-Century Reading and Screen Practices (Edinburgh Critical Studies in Victorian Literature)<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJUPI0FYsq9G-LtEcerpZnfatUN7tfzWXKJey1TVxA5XhWKTsrmHmc4htQfTBUalem3N95nGgwSseQor68mXCslCbsCRSgDSkWuor-M-wgQcMii5Fup4WcbJCBVBanehkX9nfe0jTLPN0/s1600/413MCZBfK5L._SY445_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJUPI0FYsq9G-LtEcerpZnfatUN7tfzWXKJey1TVxA5XhWKTsrmHmc4htQfTBUalem3N95nGgwSseQor68mXCslCbsCRSgDSkWuor-M-wgQcMii5Fup4WcbJCBVBanehkX9nfe0jTLPN0/s200/413MCZBfK5L._SY445_.jpg" width="132" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Helen Groth</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This book examines how the productive interplay between
nineteenth-century literary and visual media paralleled the emergence of a
modern psychological understanding of the ways in which reading, viewing and
dreaming generate moving images in the mind. Reading between these parallel
histories of mind and media reveals a dynamic conceptual, aesthetic and
technological engagement with the moving image that, in turn, produces a new
understanding of the production and circulation of the work of key nineteenth-century
writers, such as Lord Byron, Walter Scott, Lewis Carroll, Charles Dickens and
William Makepeace Thackeray. As Helen Groth shows, this engagement is both
typical of the nineteenth-century in its preoccupation with questions of
automatism and volition (unconscious and conscious thought), spirit and
materiality, art and machine, but also definitively modern in its secular
articulation of the instructive and entertaining applications of making images
move both inside and outside the mind.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Key Features</span></div>
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</div>
<ul>
<li><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Considers the impact of the dramatic transformations in
print and visual culture on our understanding of the production, circulation
and mediation of works by Byron, Scott, Thackeray, Carroll, Dickens, Mayhew and
James, as well as lesser-known writers such as Ann and Jane Taylor, Pierce
Egan, Countess Blessington, and George Sims</span></li>
<li><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Provides a new perspective on the conventional opposition of
the early cinema of attractions to the immersive absorption of both
nineteenth-century literary formations and later classical narrative cinema</span></li>
</ul>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Purchase on </span><a href="http://www.amazon.co.uk/gp/product/0748669485/ref=nosim/?tag=wwweuppublish-21" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Amazon</a></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-59200311316289955052013-09-05T11:01:00.001-04:002013-09-05T11:01:21.767-04:00William Maginn and the British Press: A Critical Biography<div class="MsoNormal">
<o:p><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh94FAl7Kihm8Q4BfgjEgfSLc6sm7iihqR1VNVJbRRzk5ElKSc8moLI2FuSjm2eD1hy0-ijvq1U4afQPZs6_4AvmY1cRN091vnHE0vCTjD3_jqwiBIxsZ_HgpRCe3xC8bHzF0QuUz_uAcU/s1600/Latane.WilliamMaginn.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh94FAl7Kihm8Q4BfgjEgfSLc6sm7iihqR1VNVJbRRzk5ElKSc8moLI2FuSjm2eD1hy0-ijvq1U4afQPZs6_4AvmY1cRN091vnHE0vCTjD3_jqwiBIxsZ_HgpRCe3xC8bHzF0QuUz_uAcU/s200/Latane.WilliamMaginn.jpg" width="124" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><o:p>By </o:p>David E. Latané,</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The first scholarly
treatment of the life of William Maginn (1794-1842), David Latané’s
meticulously researched biography follows Maginn’s life from his early days in
Ireland through his career in Paris and London as political journalist and
writer and finally to his sad decline and incarceration in debtor’s prison. A
founding editor of the daily </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Standard</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> (1827), Maginn was a prodigal author and
editor. He was an early and influential contributor to Blackwood’s </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Edinburgh
Magazine</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, and a writer from the Tory side for </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The Age</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">New Times</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">English
Gentleman</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Representative</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">John Bull</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, and many other papers. In 1830, he
launched Fraser’s </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Magazine for Town and Country,</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> the early venue for such
Victorians as Thackeray and Carlyle, and he was intimately involved with the
poet 'L.E.L.' In 1837, he wrote the prologue for the first issue of </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Bentley’s
Miscellany</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, edited by Dickens. Through painstaking archival research into
Maginn’s surviving letters and manuscripts, as well as those of his associates,
Latané restores Maginn to his proper place in the history of nineteenth-century
print culture. His book is essential reading for nineteenth-century scholars,
historians of the book and periodical, and anyone interested in questions of
authorship in the period.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Purchase at </span><a href="http://www.ashgate.com/isbn/9781409449416" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Ashgate</a></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-31285726829232526442013-09-03T22:24:00.000-04:002013-09-03T22:24:09.845-04:00Women, Infanticide and the Press, 1822–1922: News Narratives in England and Australia<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIsyqv3e1Qe1Ayh7bhjO2yJ0yPZxTYXjQc2c3SERaBn8oKaF4hV2i2QIyuI78emK2wdJ8l4AeyNOcGtu4b2PWjYd-1Ue33d4OX9nn42LSrNleyToC7S9hzqayJ1pc9Bl209wWcmMqIkg/s1600/9781409406044%5B1%5D.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIsyqv3e1Qe1Ayh7bhjO2yJ0yPZxTYXjQc2c3SERaBn8oKaF4hV2i2QIyuI78emK2wdJ8l4AeyNOcGtu4b2PWjYd-1Ue33d4OX9nn42LSrNleyToC7S9hzqayJ1pc9Bl209wWcmMqIkg/s200/9781409406044%5B1%5D.png" width="129" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Nicola Goc</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In her study of
anonymous infanticide news stories that appeared from 1822 to 1922 in the heart
of the British Empire, in regional Leicester, and in the penal colony of
Australia, Nicola Goc uses Critical Discourse Analysis to reveal both the
broader patterns and the particular rhetorical strategies journalists used to
report on young women who killed their babies. Her study takes Foucault’s
perspective that the production of knowledge, of 'facts' and truth claims, and
the exercise of power, are inextricably connected to discourse. Newspaper
discourses provide a way to investigate the discursive practices that brought
the nineteenth-century infanticidal woman - known as ‘the Infanticide’ - into
being. The actions of the infanticidal mother were understood as a fundamental
threat to society, not only because they subverted the ideal of Victorian
womanhood but also because a woman’s actions destroyed a man’s lineage. For
these reasons, Goc demonstrates, infanticide narratives were politicised in the
press and woven into interconnected narratives about the regulation of women,
women's rights, the family, the law, welfare, and medicine that dominated
nineteenth-century discourse. For example, the <i style="mso-bidi-font-style: normal;">Times</i> used individual stories of infanticide to argue against the
Bastardy Clause in the Poor Law that denied unmarried women and their children
relief. Infanticide narratives often adopted the conventions of the courtroom
drama, with the young transgressive female positioned against a body of male
authoritarian figures, a juxtaposition that reinforced male authority over
women. Alive to the marked differences between various types of newspapers,
Goc's study offers a rich and nuanced discussion of the Victorian press's
fascination with infanticide. At the same time, infanticide news stories shaped
how women who killed their babies were known and understood in ways that
pathologised their actions. This, in turn, influenced medical, judicial, and
welfare policies regarding the crime of infanticide and created an acceptable context
for how society viewed these women. Alive to the marked differences between
various types of newspapers, Goc's study offers a rich and nuanced discussion
of the Victorian press's fascination with infanticide.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Purchase at <a href="http://www.ashgate.com/isbn/9781409406051">Ashgate</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-73880868001767064162013-08-23T14:04:00.001-04:002013-08-23T14:04:24.711-04:00Landscape and Literature 1830-1914: Nature, Text, Aura<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf36AxCk-OfPuJ-Z6NBUPY-cV1jGgUe8Z18pY2aYz7vk8vXIU1yGprWq5LmguVuJRZn2X-DgvwZQ6nTlqqGShmeAyOHalOIdFtHurJ1J480zj1JKAvdInNCcyiog8EccqHrl1gBbtBp4c/s1600/9781137330451_p0_v1_s260x420.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf36AxCk-OfPuJ-Z6NBUPY-cV1jGgUe8Z18pY2aYz7vk8vXIU1yGprWq5LmguVuJRZn2X-DgvwZQ6nTlqqGShmeAyOHalOIdFtHurJ1J480zj1JKAvdInNCcyiog8EccqHrl1gBbtBp4c/s200/9781137330451_p0_v1_s260x420.JPG" width="127" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Roger Ebbatson</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This study offers an exciting
new perspective on a range of literary texts of the 19th and early 20th centuries,
exploring their vital but problematic depiction of nature. It offers the reader
seminal re-readings of a variety of texts, notably Tennyson, Hardy, Jefferies and
Edward Thomas, by placing their work in an original and illuminating cultural context.
Framed by reference to a range of philosophical ideas, notably the Frankfurt School
concept of 'aura', but also the Heideggerian reading of the 'destitution' wrought
by technology, and the phenomenological concept of 'immersion' in the natural environment,
this book will be of interest to both the student of literature, ecology and philosophy.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Order online at <a href="http://us.macmillan.com/landscapeandliterature18301914/RogerEbbatson">Palgrave</a> </span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-56243460480924167142013-07-26T12:15:00.001-04:002013-07-26T12:18:04.196-04:00NAVSA Book Prize - Heart Beats: Everyday Life and the Memorized Poem<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6KT7lVvW7fZ_PdxH0SjLQ2ZWBX7L_rXIk26bP5HYeg9zQMj2E3vriiBt7yIfQXOOZUIvB5ollbyCjJ1FME6Db_5IHbGEgfdTyK2FwWpoOpKKANdv71dwnVm9-TP-hr5cWEChVNMf96lY/s1600/j9869.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6KT7lVvW7fZ_PdxH0SjLQ2ZWBX7L_rXIk26bP5HYeg9zQMj2E3vriiBt7yIfQXOOZUIvB5ollbyCjJ1FME6Db_5IHbGEgfdTyK2FwWpoOpKKANdv71dwnVm9-TP-hr5cWEChVNMf96lY/s200/j9869.gif" width="131" /></a><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> The North American Victorian Studies Association is very pleased to announce Catherine Robson’s <i>Heart Beats: Everyday Life and the Memorized Poem </i>as the winner of the first <a href="http://www.navsa.org/Prizes/BookPrize.shtml">NAVSA Book Prize</a> award.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">About the book:</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Many people in Great Britain and the United States can
recall elderly relatives who remembered long stretches of verse learned at
school decades earlier, yet most of us were never required to recite in class. </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Heart Beats</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> is the first book to
examine how poetry recitation came to assume a central place in past curricular
programs, and to investigate when and why the once-mandatory exercise declined.
Telling the story of a lost pedagogical practice and its wide-ranging effects
on two sides of the Atlantic, Catherine Robson explores how recitation altered
the ordinary people who committed poems to heart, and changed the worlds in
which they lived.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Heart Beats</i> begins
by investigating recitation's progress within British and American public
educational systems over the course of the nineteenth and twentieth centuries,
and weighs the factors that influenced which poems were most frequently
assigned. Robson then scrutinizes the recitational fortunes of three short
works that were once classroom classics: Felicia Hemans's
"Casabianca," Thomas Gray's "Elegy Written in a Country
Churchyard," and Charles Wolfe's "Burial of Sir John Moore after
Corunna." To conclude, the book considers W. E. Henley's
"Invictus" and Rudyard Kipling's "If--," asking why the
idea of the memorized poem arouses such different responses in the United
States and Great Britain today.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Focusing on vital connections between poems, individuals,
and their communities, <i>Heart Beats</i> is
an important study of the history and power of memorized poetry.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"<i>Heart Beats</i> is
a work of passionate intelligence—sensitive to issues of class and to the place
of recitation in the disciplining of minds and bodies, but at the same time
open to the idea that verse memorization can liberate and shape social
practices for the better." —John O. Jordan, University of California,
Santa Cruz<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Robson's history of memorized poetry is impressive in
every way: imaginatively conceived and massively researched, it holds important
implications for the way we teach and read." —Leah Price, Harvard
University<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"This innovative book gives an institutional history of
memorizing poetry in nineteenth- and early twentieth-century schools, and
provides an account of the psychological effects of this practice in the lives
of students who memorized. A key scholarly book in the field, this book is a
winner." —Linda Peterson, Yale University<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Purchase from <a href="http://press.princeton.edu/titles/9869.html" target="_blank">Princeton</a>. </span><o:p></o:p></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-65211382895259190652013-07-26T11:52:00.000-04:002013-07-26T11:52:14.009-04:00BRANCH: Britain, Representation, and Nineteenth-Century History, 1775-1925<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Editor: Dino Franco Felluga<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzc6kgtYCpOy8HORQ7PY7dNuGsPWb8-Elo-t09e7w9nJt8thajBGCBARJ7YvjDQjGLnh-xI0bE2p14GDApFNst327qpT-6a01lcxUOlIk6S5IgMtU8t-YNg1GIJ8LYkG1HEkQscuawFWw/s1600/branch_logo_brown.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzc6kgtYCpOy8HORQ7PY7dNuGsPWb8-Elo-t09e7w9nJt8thajBGCBARJ7YvjDQjGLnh-xI0bE2p14GDApFNst327qpT-6a01lcxUOlIk6S5IgMtU8t-YNg1GIJ8LYkG1HEkQscuawFWw/s1600/branch_logo_brown.png" /></a><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BRANCH has just published the most recent set of essays, making the total word count of BRANCH now close to 500,000 words. The most recent additions are as follows:</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></div>
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<ul>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=sean-grass-on-the-death-of-the-duke-of-wellington-14-september-1852" target="_blank">Sean Grass (Iowa State U), “On the Death of the Duke of Wellington, 14 September 1852″</a></span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=deborah-epstein-nord-on-augustus-eggs-triptych-may-1858" target="_blank">Deborah Nord (Princeton), “On Augustus Egg’s Triptych, May 1858″</a></span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=linda-m-shires-color-theory-charles-lock-eastlakes-1840-translation-of-johann-wolfgang-von-goethes-zur-farbenlehre-theory-of-colours" target="_blank">Linda M. Shires (Stern C of Yeshiva U), “Color Theory—Charles Lock Eastlake’s 1840 Translation of Johann Wolfgang von Goethe’s Zur Farbenlehre (Theory of Colours)”</a></span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=karen-weisman-anglo-jewish-culture-and-the-condition-of-england-the-poetry-of-marion-and-celia-moss" target="_blank">Karen Weisman (U Toronto), “Anglo-Jewish Culture and the Condition of England: The Poetry of Marion and Celia Moss”</a></span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=phyllis-weliver-on-tonic-sol-fa-january-1842" target="_blank">Phyllis Weliver (Saint Louis U), “On Tonic Sol-fa, January 1842″</a></span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.branchcollective.org/?ps_articles=sharon-aronofsky-weltman-1847-sweeney-todd-and-abolition" target="_blank">Sharon Aronofsky Weltman (Louisiana SU), “1847: Sweeney Todd and Abolition” </a></span></li>
</ul>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Sean Grass offers up BRANCH's first entry on the death of an individual as event. Deborah Nord and Linda Shires offer up articles on art history while Phyllis Weliver provides us with a first BRANCH entry on music. Linda Shires' piece is a companion to her earlier BRANCH article on George Field's Chromatography of 1835. Karen Weisman examines the significance of the lesser known poets Marion and Celia Moss. And Sharon Aranofsky Weltman's piece joins a series of BRANCH articles on theater and theatricality, including previous articles by Ellen Malenas Ledoux, Renata Kobetts Miller, and Angela Esterhammer.</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Visit <a href="http://www.branchcollective.org/">website.</a></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-35960795268372422342013-07-22T22:22:00.000-04:002013-07-22T22:22:07.735-04:00Postal Plots in British Fiction, 1840-1898: Readdressing Correspondence in Victorian Literature<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj28z6xzeSsIOd8WYOUPSjEdv_vF54fwI9dc1hEoT4u3ffigjS3qw8qSkLyz1d95_n54VMWButm8INCEQ4E9RZsjhDDDjN3Xa0IPCWfsHUCIKuWO4PskyxYphVpYvOH7lkgN2mw1WtjSms/s1600/Rotunno.PostalPlots.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj28z6xzeSsIOd8WYOUPSjEdv_vF54fwI9dc1hEoT4u3ffigjS3qw8qSkLyz1d95_n54VMWButm8INCEQ4E9RZsjhDDDjN3Xa0IPCWfsHUCIKuWO4PskyxYphVpYvOH7lkgN2mw1WtjSms/s200/Rotunno.PostalPlots.jpg" width="124" /></a></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Laura Rotunno </span><br />
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<span style="font-family: Helvetica;">By 1840, the epistolary
novel was dead. Letters in Victorian fiction, however, were unmistakably alive.
By examining a variety of works from authors including Wilkie Collins,
Charles Dickens and Arthur Conan Doyle, Postal Plots addresses why.
It explores how Victorian postal reforms encouraged the lower and middle
classes to read and write, allowed them some social and political agency, and
led many to literature. The writers born of postal reforms increased
stratification between Victorian novelists, already struggling to define
themselves as literary professionals. The reform-inspired readers threatened
the novelists' development by flouting distinctions between high and low
literature. Letters in Victorian novels thus become markers of the novelists'
concerns about the hierarchies and mediocrities that threatened Victorian
fiction's artistic progress and social contribution. Postal Plots explores
Victorian literary professionals' conflict between their support for liberal
ideals in the literary marketplace and their fear that they would be unable to
bring those changes to pass.</span></div>
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<span style="font-family: Helvetica;"><o:p>Purchase through </o:p></span><a href="http://www.amazon.com/Postal-Plots-British-Fiction-1840-1898/dp/1137323795/ref=sr_1_2?ie=UTF8&qid=1374282785&sr=8-2&keywords=postal+plotshttp://www.amazon.com/Postal-Plots-British-Fiction-1840-1898/dp/1137323795/ref=sr_1_2?ie=UTF8&qid=1374282785&sr=8-2&keywords=postal+plots" style="font-family: Helvetica;" target="_blank">Amazon </a><span style="font-family: Helvetica;">or </span><a href="http://us.macmillan.com/postalplotsinbritishfiction18401898/LauraRotunnohttp://us.macmillan.com/postalplotsinbritishfiction18401898/LauraRotunno" style="font-family: Helvetica;" target="_blank">Palgrave </a></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-70248293201391815032013-06-27T15:01:00.000-04:002013-06-27T15:01:08.377-04:00Reading Victorian Deafness<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5iDU9zsxYaWsdVNY-_t-kJvY0SKy-DbX8ErEmKVlMf1jooVPMRxKf0JIcm3FOdNGxvKfkTOQJUZZmnT2U3oyqUfsIlsXVCOUCsPd13fFSt5zuHP39ciq7OoL2tbCy384JSEJ1sDotoEc/s320/esmail_cover.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5iDU9zsxYaWsdVNY-_t-kJvY0SKy-DbX8ErEmKVlMf1jooVPMRxKf0JIcm3FOdNGxvKfkTOQJUZZmnT2U3oyqUfsIlsXVCOUCsPd13fFSt5zuHP39ciq7OoL2tbCy384JSEJ1sDotoEc/s200/esmail_cover.jpeg" width="133" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By Jennifer Esmail</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">Reading Victorian
Deafness </i>is the first book to address the crucial role that deaf
people, and their unique language of signs, played in Victorian culture.
Drawing on a range of works, from fiction by Charles Dickens and Wilkie
Collins, to poetry by deaf poets and life writing by deaf memoirists Harriet
Martineau and John Kitto, to scientific treatises by Alexander Graham Bell and
Francis Galton, Reading Victorian Deafness argues that deaf people’s
language use was a public, influential, and contentious issue in Victorian
Britain.<br />
<br />
The Victorians understood signed languages in multiple, and often
contradictory, ways: they were objects of fascination and revulsion, were of
scientific import and literary interest, and were considered both a unique mode
of human communication and a vestige of a bestial heritage. Over the course of
the nineteenth century, deaf people were increasingly stripped of their
linguistic and cultural rights by a widespread pedagogical and cultural
movement known as “oralism,” comprising mainly hearing educators, physicians,
and parents.<br />
<br />
Engaging with a group of human beings who used signs instead of speech
challenged the Victorian understanding of humans as “the speaking animal” and
the widespread understanding of “language” as a product of the voice. It is
here that <i style="mso-bidi-font-style: normal;">Reading Victorian Deafness</i> offers
substantial contributions to the fields of Victorian studies and disability
studies. This book expands current scholarly conversations around orality,
textuality, and sound while demonstrating how understandings of disability
contributed to Victorian constructions of normalcy. <i style="mso-bidi-font-style: normal;">Reading Victorian Deafness </i>argues that deaf people were used
as material test subjects for the Victorian process of understanding human
language and, by extension, the definition of the human.</span></div>
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<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“Jennifer Esmail has written the definitive work on deafness
and language in Victorian England. But beyond that she has contributed
immeasurably to our understanding of the way that language, spoken and written,
was understood in that era culturally, politically, and socially. Since
language was so central to the Victorians, this book opens a window not only on
deafness but the larger Victorian culture as well.”</span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Lennard Davis — Department of English, University of
Illinois at Chicago</span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“An extensively and assiduously researched study of
Victorian Deafness as a multi-layered cultural entity … Reading Victorian
Deafness makes a groundbreaking contribution to Disability Studies at
large and Victorianist Disability Studies specifically.”</span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Martha Stoddard Holmes —<i> Author of Fictions of
Affliction: Physical Disability in Victorian Culture </i></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“Jennifer Esmail’s superb study establishes her as a name to
be reckoned with in the developing field of disability studies, and in
Victorian cultural and literary scholarship more generally. Her exploration of
deafness illuminates how Victorians understood the senses, language,
perception, and expressiveness. More than this, however, it is an important
book about what it means to be human, and to possess the desire to
communicate.”</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Kate Flint — Provost Professor of English and Art History at
the University of Southern California, and author of <i>The Victorians and
the Visual Imagination</i></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“As literary criticism has broadened to encompass aspects of
sensory history, innovative scholarship continues to illuminate connections
between overlooked texts and embodied experience. Jennifer Esmail’s
wide-ranging examination of Victorian deaf communities not only joins but also
extends this endeavor. Her important, compelling book works at the junction of
disability studies, sound studies, and English studies to alter conventional
understandings of what it meant to communicate in the nineteenth century.”</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> John Picker — Comparative Media Studies and Literature,
Massachusetts Institute of Technology, and author of <i>Victorian Soundscapes</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Purchase from <a href="http://www.ohioswallow.com/book/Reading+Victorian+Deafness" target="_blank">Ohio University Press </a> and <a href="http://www.amazon.com/Reading-Victorian-Deafness-Literature-Culture/dp/0821420348/ref=sr_1_1?ie=UTF8&qid=1372359397&sr=8-1&keywords=reading+victorian+deafness" target="_blank">Amazon</a> </span></div>
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<br /></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-20804976895970303342013-05-30T10:14:00.001-04:002013-06-07T18:57:56.296-04:00Henry James, Impressionism, and the Public<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">By Daniel Hannah</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX7pZtBOgu3EIpqtZbRuc2DzDJJx-yo8WLBnwsad2fwRMGWPQBUNq4qNVCENGdyZa-kcnCa7-hJj3WUoX1F4ju8prx5rKPV40fp_Zhbhht08k2sUo8g3Na0h_M0IUr-iIB-xoVVk4xKs/s1600/HenryJamesImpressionism&thePUblic.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="clear: right; float: right; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX7pZtBOgu3EIpqtZbRuc2DzDJJx-yo8WLBnwsad2fwRMGWPQBUNq4qNVCENGdyZa-kcnCa7-hJj3WUoX1F4ju8prx5rKPV40fp_Zhbhht08k2sUo8g3Na0h_M0IUr-iIB-xoVVk4xKs/s200/HenryJamesImpressionism&thePUblic.jpg" width="129" /></span></a></div>
<br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<o:p><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></o:p><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Proposing a new approach to
Jamesian aesthetics, Daniel Hannah examines the complicated relationship
between Henry James's impressionism and his handling of 'the public.' Hannah
challenges solely phenomenological or pictorial accounts of literary
impressionism, instead foregrounding James's treatment of the word 'impression'
as a mediatory unit that both resists and accommodates invasive publicity. Thus
even as he envisages a breakdown between public and private at the end of the
nineteenth century, James registers that breakdown not only as a threat but
also as an opportunity for aesthetic gain. Beginning with a reading of 'The Art
of Fiction' as both a public-forming essay and an aesthetic manifesto, Hannah's
study examines James's responses to painterly impressionism and to
aestheticism, and offers original readings of<i style="mso-bidi-font-style: normal;"> <span style="mso-bidi-font-style: italic;">What Maisie Knew</span>, <span style="mso-bidi-font-style: italic;">The Wings of the Dove</span>, </i>and<i style="mso-bidi-font-style: normal;"> <span style="mso-bidi-font-style: italic;">The
American Scene</span> </i>that treat James's articulation of impressionism in
relation to the child, the future of the novel, and shifts in the American
national imaginary. Hannah's study persuasively argues that throughout his
career James returns to impressionability not only as a site of immense
vulnerability in an age of rapid change but also as a crucible for reshaping,
challenging, and adapting to the public sphere’s shifting forms.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">'Focusing on the tendency in
Impressionism to trouble distinctions between the public and the private,
Daniel Hannah’s sophisticated and compelling book opens up broad new views of
much that makes Henry James’s writing meaningful and much that has yet to be
seen in the problem of Impressionism.'<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">--Jesse E. Matz, Kenyon
College, USA<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Purchase from <a href="http://www.ashgate.com/isbn/9781409429531" target="_blank">Ashgate</a>. </span></div>
<!--EndFragment-->Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-26551192462755379462013-05-25T11:20:00.000-04:002013-06-07T18:58:50.489-04:00Women’s Ghost Literature in Nineteenth-Century Britain<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">By
Melissa Edmundson Makala</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjv6CjEyOKUx_Daq8sIKh3ciwYO6SKyJHY2CRkuot7ncq8_pycVy5IhmgFe9SWCviVwNPfAxZjLCl0esgXUnXOR4lKMAp97euGCwyEbU-Ix_-cisNe_m9SK3aXipKDB5K4WMXIJQeoAY/s1600/WomensGhostLit_cover.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjv6CjEyOKUx_Daq8sIKh3ciwYO6SKyJHY2CRkuot7ncq8_pycVy5IhmgFe9SWCviVwNPfAxZjLCl0esgXUnXOR4lKMAp97euGCwyEbU-Ix_-cisNe_m9SK3aXipKDB5K4WMXIJQeoAY/s200/WomensGhostLit_cover.png" width="141" /></a></div>
<br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Throughout
nineteenth-century Britain, female writers excelled within the genre of
supernatural literature. Much of their short fiction and poetry uses ghosts as
figures to symbolize the problems of gender, class, economics, and imperialism,
thus making their supernatural literature something more than just a good
scare. Nineteenth-century ghost literature by women shows the Gothic becoming
more experimental and subversive as its writers abandoned the stereotypical
Gothic heroines of the past in order to create more realistic, middle-class
characters (both living and dead, male and female) who rage against the limits
imposed on them by the natural world. The ghosts of Female Gothic thereby
become reflections of the social, sexual, economic, and racial troubles of the
living. Expanding the parameters of Female Gothic and moving it into the
nineteenth and twentieth centuries allows us to recognize women’s ghost
literature as a specific strain of the Female Gothic that began not with Ann
Radcliffe, but with the Romantic Gothic ballads of women in the first decade of
the nineteenth century. </span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i>Women’s Ghost Literature in Nineteenth-Century
Britain </i></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">recovers and analyzes for a new audience this “social supernatural”
ghost literature, as well as the lives and literary careers of the women who
wrote it.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">“This
groundbreaking study makes a persuasive case that nineteenth-century women
authors wrote ghosts into their fiction and poetry not just in order to
entertain but also as a vehicle for social criticism. Through the figure of the
ghost, they drew attention to religious, gender, and class-based inequality
within British society, and to the human costs of empire and the industrial
revolution.”<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">– Paula
Feldman, University of South Carolina<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">University of Wales Press</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Purchase
from <a href="http://www.amazon.com/Womens-Literature-Nineteenth-Century-Britain-University/dp/0708325645/ref=sr_1_1?ie=UTF8&qid=1370645913&sr=8-1&keywords=Women%27s+Ghost+Literature" target="_blank">Amazon</a> or <a href="http://press.uchicago.edu/ucp/books/book/distributed/W/bo15483613.html" target="_blank">Chicago UP </a>.</span></div>
<!--EndFragment-->Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-79312224895040475332013-05-17T12:13:00.003-04:002013-06-07T18:57:14.685-04:00Transatlantic Spectacles of Race: The Tragic Mulatta and the Tragic Muse<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYo1WIYkcIxWxvuuyFTxIbXB07y0jFGdkPo-fzWStGQ0A20GlsRlAwfnwOD1KZsoZKmKR2Vim38HM6RUruei5r8u9bACmVsuWWBqmAU_pKE9qXobaIz_srlmHqURG3oLK07b23bZCe5ZI/s1600/ProductImageHandler.ashx.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYo1WIYkcIxWxvuuyFTxIbXB07y0jFGdkPo-fzWStGQ0A20GlsRlAwfnwOD1KZsoZKmKR2Vim38HM6RUruei5r8u9bACmVsuWWBqmAU_pKE9qXobaIz_srlmHqURG3oLK07b23bZCe5ZI/s200/ProductImageHandler.ashx.png" width="134" /></a><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">By Kimberly Snyder Manganelli </span></div>
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<!--StartFragment--><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The tragic mulatta was a
stock figure in nineteenth-century American literature, an attractive
mixed-race woman who became a casualty of the color line. The tragic muse was
an equally familiar figure in Victorian British culture, an exotic and alluring
Jewish actress whose profession placed her alongside the “fallen woman.”<span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i>In </i><span style="mso-bidi-font-style: italic;"><i>Transatlantic Spectacles of Race</i>,</span> Kimberly Manganelli argues
that the tragic mulatta and tragic muse, who have heretofore been read
separately, must be understood as two sides of the same phenomenon. In both
cases, the eroticized and racialized female body is put on public display, as a
highly enticing commodity in the nineteenth-century marketplace. Tracing these
figures through American, British, and French literature and culture,
Manganelli constructs a host of surprising literary genealogies, from<i> <span style="mso-bidi-font-style: italic;">Zelica</span></i> to <span style="mso-bidi-font-style: italic;"><i>Daniel Deronda</i></span>, from <span style="mso-bidi-font-style: italic;"><i>Uncle
Tom’s Cabin</i></span> to <span style="mso-bidi-font-style: italic;"><i>Lady Audley’s
Secret</i>.</span> Bringing together an impressive array of cultural texts that
includes novels, melodramas, travel narratives, diaries, and illustrations, <span style="mso-bidi-font-style: italic;"><i>Transatlantic Spectacles of Race</i></span>
reveals the value of transcending literary, national, and racial boundaries.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">"An engaging, rich, and
provocative work that re-directs 'mixed-race' studies back to its complex
archival and historical roots, Manganelli’s book<span style="mso-bidi-font-style: italic;"> </span>challenges readers to consider the deeply imbricated,
transnational production of 19th century racial and gender
mythologies."<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">—Daphne Brooks, Princeton
University<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">"Manganelli's clear,
engaging writing will captivate readers of nineteenth and early
twentieth-century British and American literature. This book provides a
powerful and lucid model for scholars and students interested in transatlantic
work."<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">—Cherene Sherrard-Johnson,
author of <i>Portraits of the New Negro Woman</i><o:p></o:p></span></div>
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<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Purchase at <a href="http://www.amazon.com/Transatlantic-Spectacles-Race-Literatures-Initiative/dp/0813549884/ref=sr_1_1?ie=UTF8&qid=1370645755&sr=8-1&keywords=Transatlantic+spectacles+of+race" target="_blank">Amazon</a>.</span></div>
<!--EndFragment-->Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-4412623176057037281.post-75564852221407930782013-05-08T09:13:00.000-04:002013-05-15T09:18:48.136-04:0019: Interdisciplinary Studies In The Long Nineteenth Century 16 (2013): W. T. Stead: Newspaper Revolutionary<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Guest edited by Laurel Brake and James Mussell<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnojd0OTiD-_cYepS5AKupEIF5v8E7QyiaYvbD-ULw3zZ7uhAPDR2LQ98CdPxE7h-oagjxtw-dJdvvMvhdWVZeZODMT3tmw34ZZLwQ4IoLNDl1o9ztFwdN3AXMEUjzGiIJLRVkXWSAiI/s1600/cover_issue_83_en_US.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnojd0OTiD-_cYepS5AKupEIF5v8E7QyiaYvbD-ULw3zZ7uhAPDR2LQ98CdPxE7h-oagjxtw-dJdvvMvhdWVZeZODMT3tmw34ZZLwQ4IoLNDl1o9ztFwdN3AXMEUjzGiIJLRVkXWSAiI/s200/cover_issue_83_en_US.jpg" style="cursor: move;" width="141" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When W. T. Stead died on the <i>Titanic</i> he was the most famous
Englishman on board. He was one of the inventors of the modern tabloid. His
advocacy of ‘government by journalism’ helped launch military campaigns. His
exposé of child prostitution raised the age of consent to sixteen, yet his
investigative journalism got him thrown in jail. A mass of contradictions and a
crucial figure in the history of the British press, Stead was a towering
presence in the cultural life of late-Victorian and Edwardian society. This special
issue of <i>19</i>, guest edited by
Laurel Brake and James Mussell, celebrates Stead’s life and legacy in all
its diversity 101 years on.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></div>
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<ul>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Laurel Brake, James Mussell:
‘Introduction’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Graham Law, Matthew Sterenberg: ‘Old v.
New Journalism and the Public Sphere; or, Habermas Encounters Dallas and Stead’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Lucy Delap, Maria DiCenzo: ‘“No one
pretends he was faultless”: W. T. Stead and the Women’s Movement’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Stéphanie Prévost: ‘W. T. Stead and the
Eastern Question (1875-1911); or, How to Rouse England and Why?’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Tom Lockwood: ‘W. T. Stead’s ‘Penny
Poets’: Beyond Baylen’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Paul Horn: ‘“Two Minds With but a Single
Thought”: W. T. Stead, Henry James, and the Zancig Controversy’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Sarah Crofton: ‘“Julia Says”: The
Spirit-Writing and Editorial Mediumship of W. T. Stead’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Marysa Demoor: ‘When the King Becomes
your Personal Enemy: W. T. Stead, King Leopold II, and the Congo Free State’</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Tom Gretton: ‘From La Méduse to the
Titanic: Géricault’s Raft in Journalistic Illustration up to 1912</span></li>
</ul>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The new issue of </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">19: Interdisciplinary Studies in the Long Nineteenth Century</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> is now available at </span><a href="http://19.bbk.ac.uk/index.php/19/issue/view/83" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;" target="_blank">http://19.bbk.ac.uk/index.php/19/issue/view/83</a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">.</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.com