Books in the Series in Literary Studies series

This work questions the problematic connections between illness and modernity: the complicated negotiations involving the body both in its physicality and phenomenology and the poetics and praxiality of illness. The project, which is predominantly conceptual in nature, for it does not see illness solely as a clinical-physical category (leaning heavily on the medical sciences), but rather perspectivizes its phenomenology and pathographical limits and manifestations, lateralizing on its critical correspondences with a selection of modernist texts ranging from Virginia Woolf to Samuel Beckett.The book unearths different 'possibilities' of illness without denying its (quite natural) association with morbidity, pain, suffering, dying and death. It looks at illness and its effects on different bodies phenomenologically with the help of some twentieth-century philosophers, including Martin Heidegger, Jean Luc-Nancy, Maurice Merleau-Ponty, Jean-Paul Sartre and Emmanuel Levinas. The book locates these phenomenological understandings in a reading of some of the important literary works of early twentieth-century Europe - five literary works from five different genres (poetry, drama, fiction, non-fiction and epistle) - critiquing the relevance of the phenomenological body in the literary and narrative world of the texts. The author deals with Samuel Beckett's Endgame, Franz Kafka's letters, Thomas Mann's Death in Venice, Virginia Woolf's On Being Ill and T. S. Eliot's The Wasteland within the aesthetico-philosophical space and the epistemic dialogism that modernist aesthetics implies and espouses.

This book examines how seas, oceans, and passageways have shaped and reshaped cultural identities, spurred stories of reunion and separation, and redefined entire nations. It explores how entire communities have crossed seas and oceans, voluntarily or not, to settle in foreign lands and undergone identity, cultural and literary transformations. It also explores how these crossings are represented. The book thus contributes to oceanic studies, a field of study that asks how the seas and oceans have and continue to affect political (narratives of exploration, cartography), international (maritime law), identity (insularity), and literary issues (survival narratives, fishing stories).Divided into three sections, Negotiating Waters explores the management, the crossings, and the re-imaginings of the seas and oceans that played such an important role in the configuration of the colonial and postcolonial world and imagination. In their careful considerations of how water figures prominently in maps, travel journals, diaries, letters, and literary narratives from the 17th century onwards, the three thematic sections come together to shed light on how water, in all of its shapes and forms, has marked lands, nations, and identities. They thus offer readers from different disciplines and with different colonial and postcolonial interests the possibility to investigate and discover new approaches to maritime spaces. By advancing views on how seas and oceans exert power through representation, Negotiating Waters engages in important critical work in an age of rising concern about maritime environments.

This book considers the relationships between British Romantic-era novelist, poet and writer of educational works for children, Charlotte Smith (1749-1806), and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester, George Romney, James Northcote, John Raphael Smith and Emma Smith, the book demonstrates how the artwork of these individual artists influenced Charlotte Smith's literary corpus. It also shows a mutual influence: how the literary works of Charlotte Smith impacted the corpora of these artists. This study uncovers information which was not heretofore known regarding these artists: it reveals a mistaken attribution of a sketch which accompanied the second volume of Smith's Elegiac Sonnets (1797) and sheds light on a print, held by the British Museum, which was previously shrouded in mystery. The artworks also enhance the existing scholarly knowledge about Smith's biography. This book analyses the tropes and motifs employed by Smith's artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith's literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.

This volume speaks to the use of poetry in critical qualitative research and practice focused on social justice. In this collection, poetry is a response, a call to action, agitation, and a frame for future social justice work. The authors engage with poetry's potential for connectivity, political power, and evocation through methodological, theoretical, performative, and empirical work. The poet-researchers consider questions of how poetry and Poetic Inquiry can be a response to political and social events, be used as a pedagogical tool to critique inequitable social structures, and how Poetic Inquiry speaks to our local identities and politics. The authors answer the question: "What spaces can poetry create for dialogue about critical awareness, social justice, and re-visioning of social, cultural, and political worlds?" This volume adds to the growing body of Poetic Inquiry through the demonstration of poetry as political action, response, and reflective practice. We hope this collection inspires you to write and engage with political poetry to realize the power of poetry as political action, response, and reflective practice.

This book considers the relationships between British Romantic-era novelist, poet and writer of educational works for children, Charlotte Smith (1749-1806), and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester, George Romney, James Northcote, John Raphael Smith and Emma Smith, the book demonstrates how the artwork of these individual artists influenced Charlotte Smith's literary corpus. It also shows a mutual influence: how the literary works of Charlotte Smith impacted the corpora of these artists. This study uncovers information which was not heretofore known regarding these artists: it reveals a mistaken attribution of a sketch which accompanied the second volume of Smith's Elegiac Sonnets (1797) and sheds light on a print, held by the British Museum, which was previously shrouded in mystery. The artworks also enhance the existing scholarly knowledge about Smith's biography. This book analyses the tropes and motifs employed by Smith's artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith's literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.

Neuroscience tells us that the brain is nothing but a metaphor machine capable of extracting meaning from a chaotic reality. Following Agamben, Arendt, Benjamin and ¿i¿ek, a theory of violence can be established according to which violence is a reaction on the part of the individual to the frustration generated by having her metaphor machine suppressed by the mythic narrative of the Law. In opposition to mythic violence, Benjamin posits the justice of divine violence. Divine justice is an excess of life, the very uniqueness of the metaphor machine.The individual is affected by a difficulty to communicate her metaphor machine to the Other, as if it were inexpressible. This work explores how the characters in the works of David Foster Wallace, Cormac MacCarthy, J. G. Ballard, Bret Easton Ellis, Chuck Palahniuk, William Gibson, Neal Stephenson, Maurice G. Dantec and China Mieville suffer from these limits of language and the constrictions of the Law. Through violence they look for their individual Voice, intended as their will-to-say, the 'pure taking place of language' (Agamben). In their struggle to be heard these characters are however deaf to the Voice of the Other. There is a need for a new Ethics of Narratives expressed through an Epic of the Voice founded on the will-to-listen, along the lines of the concept of the posthuman theorized by Rosi Braidotti. Here subjectivity is a process of constant autopoiesis dependent on the relationship the individual has with the Other and the environment around her, that is, in the reciprocal will-to-say and will-to-listen. Human beings can meet in the taking-place of language, in the place before the suppressive language of the Law is even born, in a meeting of Voices.

This book explores the enduring European and American interest in literary works portraying Eastern themes and perspectives. It examines how literary Easternization, termed "Logoteunison", manifests in Western literary works that reflect, embody, or deploy Eastern values or concepts; or else ape, mimic, parody, or pay homage to various Eastern and especially Persian masterpieces. Such repurposing or appropriation is frequently powered by features from the postmodern toolkit: intertextuality, metafiction, fragmentation.The novelist Orhan Pamuk has been influenced (arguably unwittingly) by literary Easternization. In his Western-style works, Pamuk channels Eastern values, creating texts nevertheless in the Western mold and primarily aimed at Western readers. Pamuk uses Istanbul-the writer's birthplace, a city between two worlds, a halfway land binding together Asia and Europe-both as a physical setting and to symbolically mediate Eastern and Western worldviews.This title has a threefold purpose: by establishing a theoretical and contextual background for Eastern masterpieces and forming a distinctive review of Eastern culture as filtered through Pamuk's works, it suggests a new theory in literary criticism, one which aims to adopt a novel philosophical approach to the study of literary Easternization.Students of comparative and Turkish literature will find in this volume detailed background information about Turkish, Persian, and Arabic masterpieces, as well as their significant cultural correspondences and affinities, especially regarding their employment of Sufi themes. Any student or scholar interested in the postmodern cross-fertilization of Middle Eastern and Western literature will find this work fascinating and rewarding.

Ecocriticism in relation to the Southeast Asian region is relatively new. So far, John Charles Ryan's Ecocriticism in Southeast Asia is the first book of its kind to focus on the region and its literature to give an ecocritical analysis: that volume compiles analyses of the eco-literatures from most of the Southeast Asian region, providing a broad insight into the ecological concerns of the region as depicted in its literatures and other cultural texts. This edited volume furthers the study of Southeast Asian ecocriticism, focusing specifically on prominent myths and histories and the myriad ways in which they connect to the social fabric of the region. Our book is an original contribution to the expanding field of ecocriticism, as it highlights the mytho-historical basis of many of the region's literatures and their relationship to the environment. The varied articles in this volume together explore the idea of nature and its relationship with humans. The always problematic questions that surround such explorations, such as "why do we regard nature as 'external'?" or "how is humankind a continuum with nature?", emerge throughout the volume either overtly or implicitly. As Pepper (1993) points out, what Karl Marx referenced as 'first' or 'external' nature gave rise to humankind. But humanity "worked on this 'first' nature to produce a 'second' nature: the material creations of society plus its institutions, ideas and values." (Pepper, 108). Thus, our volume constantly negotiates this field of ideas and belief systems, in diverse ways and in various cultures, attempting to relate them to the current ecological predicaments of ASEAN. It will likely prove an invaluable resource for scholars and students of ecocriticism and, more broadly, of Southeast Asian cultures and literatures.

The last decades have seen a revival of fragmentation in British and American works of fiction that deny linearity, coherence and continuity in favour of disruption, gaps and fissures. Authors such as Ali Smith, David Mitchell and David Shields have sought new ways of representing our global, media-saturated contemporary experience which differ from modernist and postmodernist experimentations from which the writers nevertheless draw inspiration. This volume aims to investigate some of the most important contributions to fragmentary literature from British and American writers since the 1990s, with a particular emphasis on texts released in the twenty-first century. The chapters within examine whether contemporary forms of literary fragmentation constitute a return to the modernist episteme or the fragmented literature of exhaustion of the 1960s, mark a continuity with postmodernist aesthetics or signal a deviation from past models and an attempt to reflect today's accelerated culture of social media and over-communication. Contributors theorise and classify literary fragments, examine the relationship between fragmentation and the Zeitgeist (influenced by globalisation, media saturation and social networks), analyse the mechanics of multimodal and multimedial fictions, and consider the capacity of literary fragmentation to represent personal or collective trauma and to address ethical concerns. They also investigate the ways in which the architecture of the printed book is destabilised and how aesthetic processes involving fragmentation, bricolage and/or collage raise ontological, ethical and epistemological questions about the globalised contemporary world we live in and its relation to the self and the other. Besides the aforementioned authors, the volume makes reference to the works of J. G. Ballard, Julian Barnes, Mark Z. Danielewski, David Markson, Jonathan Safran Foer, David Foster Wallace, Jeanette Winterson and several others.

"Staying Open, Charles Olson's Sources and Influences" investigates the inter-disciplinary influences on the work of the mid-Century American poet, Charles Olson. This edited collection of essays covers Olson's diverse non-literary interests, including his engagement with the music of John Cage and Pierre Boulez, his interests in abstract expressionism, and his readings of philosopher Alfred North Whitehead. The essays also examine Olson's pedagogy, which he developed in the experimental environment at Black Mountain College, as well as his six-month archeological journey through the Yucatan Peninsula in 1950 to explore the culture of the Maya. This book will, therefore, be a strong research aid to scholars working in diverse fields - music, archeology, pedagogy, philosophy, art, and psychology - as it outlines methods for close inter-disciplinary work that can uncover the mechanics of Olson's creative, literary processes. Building on the straightforward scholarship of George Butterick, whose Guide to the Maximus Poems remains indispensable for readers of Olson's work, the essays in this volume will also guide readers through the thick allusions within The Maximus Poems itself. New interest in the wide-ranging and non-literary nature of Olson's thought in several recent academic works makes this book both timely and necessary. Physics Envy: American Poetry and Science in the Cold War and After by Peter Middleton as well as Contemporary Olson edited by David Herd have started the process of uncovering the extent to which Olson's inter-disciplinary interests inflected his poetic compositions. "Staying Open" extends the preliminary investigations of Olson's non-literary sources in those volumes by bringing together a community of scholars working across disciplines and within a wide variety of humanistic concerns.

Examining the centrality of the city in Canadian literary production post-1960, this collection of critical essays presents an interdisciplinary representation of the urban from a variety of backgrounds and perspectives. By analysing contemporary Canadian literature (in English), the contributors intend to produce not only an alternative picture of the national literary traditions but also fresh articulations of the relationship between (Canadian) identity, citizenship, and nation. Since the 1960s, metropolitan regions across the world have experienced radical transformation. For critical urban studies scholars, this phenomenon has been described as a 'restructuring'. This study argues that in Canada this 'restructuring' has been accompanied by a literary rearrangement of its canon, consisting of a gradual shift of focus from the wild or rural to the urban. Alluding to the changes within contemporary Canadian cities, the term 'postmetropolis' locates the contributors' shared theoretical framework within a critical postmodern paradigm. Centered on a particular selection of poetic or fictional texts, each essay pushes the theoretical framework further, suggesting the need for new tools of interpretation and analysis. This book presents an urban literary portrait of Canada that is both thematically and conceptually coherent. Using a range of interdisciplinary methodologies, it adeptly navigates a range of urban issues such as surveillance, asylum, diaspora, mobility, the queer, and the post-political. This book will be of interest to those studying or working on Canadian literature, both in Canada and internationally, as well as to those scholars engaged in investigations that intersect literature and urban studies.

The work presents articles discussing various subjects relating to literary, cultural borders and borderlands as well as their crossings with the Orient and the Occident. A broad, multifaceted scope of the volume draws the attention of readers to the problem of liminal spaces between cultures, genres, codes and languages of literary and artistic communication. The perspective of borderness proposed by orientalists, literary specialists, culture experts provide insights into multi-dimensional and heterogenic subjects and methods of consideration. The authors referring to, inter alia, comparative studies, theory of reception, intertextuality, transculturality of the East and West works touch upon themes such as coexistence, exclusion, crossing or the instability of borders. Also by taking into account identity issues, the interpenetration of various influences between different literatures, poetics and languages, the readers gain a broader context of intercultural dialogue between the Orient and Occident, what allow them to transgress barriers of a purely artistic, literary reception of the book contents. The volume - due to the abundance of proposed topics, its heterogeneous representations and manifold approaches used in analysis, discussion and (re)interpretations - is a debate's record or a result of an academic reflection rather than a comprehensive monograph.

The work presents articles discussing various subjects relating to literary, cultural borders and borderlands as well as their crossings with the Orient and the Occident. A broad, multifaceted scope of the volume draws the attention of readers to the problem of liminal spaces between cultures, genres, codes and languages of literary and artistic communication. The perspective of borderness proposed by orientalists, literary specialists, culture experts provide insights into multi-dimensional and heterogenic subjects and methods of consideration. The authors referring to, inter alia, comparative studies, theory of reception, intertextuality, transculturality of the East and West works touch upon themes such as coexistence, exclusion, crossing or the instability of borders. Also by taking into account identity issues, the interpenetration of various influences between different literatures, poetics and languages, the readers gain a broader context of intercultural dialogue between the Orient and Occident, what allow them to transgress barriers of a purely artistic, literary reception of the book contents. The volume - due to the abundance of proposed topics, its heterogeneous representations and manifold approaches used in analysis, discussion and (re)interpretations - is a debate's record or a result of an academic reflection rather than a comprehensive monograph.