Litteraturstudier: fra 1800 til 1900

This handbook is an invaluable resource about Victorian literature, art, and culture which challenges its readers to ponder perplexing questions about how and why some scandals were perpetrated and propagated in the nineteenth century while others were not, and what the controversies reveal about the human condition.

With introductions and biographies from Jack Zipes, and the original illustrations by Kay Nielsen, this collection of fairy tales originally published by the award-winning Romer Wilson - Green Magic (1928), Silver Magic (1929), Red Magic (1930) - offers a combination of classic fairy tales, alongside lesser known, global and diverse tales.

Who was Mark Twain? Was he the genial author of two beloved boys books, the white-haired and white-suited avuncular humorist, the realistic novelist, the exposer of shams, the author repressed by bourgeois values, or the social satirist whose later writings embody an increasingly dark view? In light of those and other conceptions, the question we need to ask is not who he was but how did we get so many Mark Twains? The Mercurial Mark Twains(s): Reception History and Iconic Authorship provides answers to that question by examining the way Twain, his texts, and his image have been constructed by his audiences. Drawing on archival records of responses from common readers, reviewer reactions, analyses by Twain scholars and critics, and film and television adaptations, this study provides the first wide-ranging, fine-grained historical analysis of Twain's reception in both the public and private spheres, from the 1860s until the end of the twentieth century.

With introductions and biographies from Jack Zipes, and the original illustrations by Violet Brunton, this collection of fairy tales originally published by the award-winning Romer Wilson - Green Magic (1928), Silver Magic (1929), Red Magic (1930) - offers a combination of classic fairy tales, with lesser-known, global and diverse tales.

Combining narratological and stylistic methods, this book theorizes dual narrative dynamics comprised of plot development and covert progression, and demonstrates the consequences for the interpretation of literary works.

A book of social commentary informed by the history of England. It forms an analysis of the problems of newly industrialized England both by invoking historical events and by dissecting contemporary issues.

After experiencing life in London, the narrator and her brother discover that they are Canadians, not colonials. Their encounters with Englishmen and Americans demonstrate that there are three distinct countries, each with a character of its own, but sharing common interests. This is an early novel on the eternal theme of identity.

This book re-locates Elizabeth Gaskell¿s ¿smaller stories¿ in the literary and cultural context of the nineteenth century. While Gaskell is recognised as one of the major novelists of her time, the short stories that make up a large proportion of her published work have not yet received the critical attention they deserve. This study re-claims them as an indispensable part of her literary output that enables us to better contextualize and assess her achievement holistically as a highly-skilled woman of letters. The periodicals in which Gaskell¿s shorter pieces were published offer a microcosm of nineteenth-century society, and Gaskell took full advantage of the medium to apply a consistent and barbed challenge to cultural and gendered constructs of roles and social behaviour. Although her eminently readable prose still flows easily in her short stories, it is less likely to elide the sharp corners of domestic violence, the disabling experiences of women, the pain of death and loss, andthe complications of family life.

This book tells the story of how nineteenth-century writers turned to the realist novel in order to reimagine Jesus during a century where traditional religious faith appeared increasingly untenable. Re-workings of the canonical Gospels and other projects to demythologize the story of Jesus are frequently treated as projects aiming to secularize and even discredit traditional Christian faith. The novels of Charles Kingsley, George Eliot, Eliza Lynn Linton, and Mary Augusta Ward, however, demonstrate that the work of bringing the Christian tradition of prophet, priest, and king into conversation with a rapidly changing world can at times be a form of authentic faith-even a faith that remains rooted in the Bible and historic Christianity, while simultaneously creating a space that allows traditional understandings of Jesus' identity to evolve.

Through an interdisciplinary lens of theology, medicine, and literary criticism, this book examines the complicated intersections of food consumption, political economy, and religious conviction in nineteenth-century Britain. Scholarship on fasting is gendered. This book deliberately faces this gendering by looking at the way in which four Victorian women writers - Christina Rossetti, Alice Meynell, Elizabeth Gaskell and Josephine Butler - each engage with food restraint from ethical, social and theological perspectives. While many studies look at fasting as a form of spiritual discipline or punishment, or alternatively as anorexia nervosa, this book positions limiting food consumption as an ethical choice in response to the food insecurity of others. By examining their works in this way, this study repositions feminine religious practice and writing in relation to food consumption within broader contexts of ecocriticism, economics and social justice.

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Nicht nur durch Renaturierungsprojekte zur CO2-Speicherung sind Moore momentan aktuell, auch die Literatur hat in den vergangenen Jahrzehnten diesen schwer zugänglichen Naturraum für sich entdeckt. Der Band versammelt Beiträge verschiedener Literatur- und Kulturwissenschaften, die das Moor als ästhetischen Raum abstecken ¿ von der liminalen Sphäre zwischen Wasser und Land, als Erinnerungsraum, Spielfeld des Nature Writings bis hin zum Phobotop.

This book aims to establish the position of the sidekick character in the crime and detective fiction literary genres. It re-evaluates the traditional view that the sidekick character in these genres is often overlooked as having a small, generic or singular role¿either to act as the foil to the detective in order to accentuate their own abilities at solving crimes, or else to simply tell the story to the reader. Instead, essays in the collection explore the representations and functions of the detective¿s sidekick across a range of forms and subgenres of crime fiction. By incorporating forms such as children¿s detective fiction, comics and graphic novels and film and television alongside the more traditional fare of novels and short stories, this book aims to break down the boundaries that sometimes exist between these forms, using the sidekick as a defining thread to link them together into a wider conceptual argument that covers a broad range of crime narratives.

The essays gathered in Haiti's Literary Legacies unpack the theoretical, historical, and political resonance of the Haitian revolution across a multiplicity of European and American Romanticisms, and include discussion of Haitian, British, French, German, and U.S. American traditions. Often referred to as the only successful slave revolt in history, the revolution that forged Haiti at once fulfilled, challenged, and ultimately surpassed Enlightenment conceptions of freedom and universality in ways that became crucial to transnational Romanticism, yet scholars and historians of Romanticism are only beginning to take the measure of its impact. This collection works at the intersection of Romantic and Caribbean studies to move that project forward, showing the myriad ways that literatures of the Romantic period respond to-and are transformed by-the Revolution in Haiti. Demonstrating the Revolution's centrality to romantic writing, Haiti's Literary Legacies urges an enlarged understanding of Romanticism and of its implications for the political, historical, and ecological genealogies of the present.

This book suggests alternative ways of looking at what made a writer, what people gained from writing, and explores the alternative world of temperance periodicals of the 19th and early 20th century. Introducing now-forgotten writers who, in their thousands, kept the Victorian periodical presses rolling, and the public entertained.

Aimed at a non-specialist readership, this survey of early modern English literature examines how writers represented Islam. Many aimed to foment hostility or to encourage friendship. Anyone interested in how stereotypes are perpetuated and can be challenged today in an increasingly Islamophobic Western world will profit from reading it.

In this iconoclastic and sure to be contentious re-casting by a renowned critic, the great American novel Moby Dick is presented as a work that has been widely misread, an error that continues to this day. According to Barry Sanders, Herman Melville's best- known work is not a novel, does not pretend to be a novel, and was not intended by its author to be read as a novel. Moby Dick is this country's first manifesto, a tocsin sounded to warn us about the encroaching end of nature.  The Manifesto of Herman Melville traces the evolution of Moby Dick-from its awful, initial reception, very rapidly passing out of print, to its remarkable revival to become lauded as one of America's great literary classics.  That turnaround happened in the early decades of the 20th century and was, in great part, the result of the new and radical aesthetic movements such as surrealism, dadaism, and cubism that allowed for a radical reading of the book. The novel's new standing as one of the keystones of the American cannon disguises its deeper meaning as an alarm bell, an obscuring which Barry Sanders, in a critical assessment that is as persuasive as it is provocative, seeks to clear away. Sanders argues that Moby Dick needs to be recognized as Melville's manifesto: a bold statement warning of the destruction of the natural world made most evident in the book's central metaphor the relentless pursuit to kill the whale, the first sentient being in Genesis and one of the most startling mammals-possessed of hair and scales, a tail and breasts-and the largest of the creatures on earth, weighing up to 400,000 pounds. Whalers in Melville's day hunted down and killed these extraordinary behemoths of nature, for their oil, sold to people for cooking and to light their homes. Today the pursuit for energy has shifted dramatically, from sea to land,  but the prize remains the same:  energy producing fuel for which entrepreneurs and adventurers are prepared to kill off all of nature.

This engrossing narrative recounts the story of Jane de La Vaudère (née Jeanne Scrive), a prolific and celebrated writer of France's Belle Époque. Interweaving biography and literary analysis, Sharon Larson examines the ways in which La Vaudère adapted her persona to shifting literary trends and readership demands--and how she created and profited from controversy.Relatively unknown today, La Vaudère published more than forty novels, poetry collections, and dramatic works as well as hundreds of shorter pieces. A controversial figure who was known as a plagiarist, La Vaudère attracted the attention of the public and of her peers, who caricatured her in literary periodicals and romans à clef. Most notably, La Vaudère claimed to have written the Rêve d'Egypte pantomime, whose 1907 production at the Moulin Rouge featured a kiss between Missy and Colette that led to riots and the suspension of future performances. Larson scrutinizes the ensemble of these various media constructions, privileging La Vaudère's self-representation in interviews and advertisements, and brings to light her agency in creating an image that captivated public attention and boosted sales of her writings.An engrossing examination of La Vaudère's life and work, this volume probes the quandaries of scholarship seeking to responsibly recover lost female voices and makes a long-overdue contribution to nineteenth-century French literary studies.