Deidre Shauna Lynch – författare

Written during a time of great political turmoil, social anxiety, and against the backdrop of the French Revolution, Wollstonecraft’s argument continues to challenge and inspire. This revised and expanded Third Edition is again based on the 1792 second-edition text and is accompanied by revised and expanded explanatory annotations.“Backgrounds and Contexts” is also significantly expanded and contains twenty-four works organized thematically into these groupings: “Legacies of English Radicalism,” “Education,” “Wollstonecraft’s Revolutionary Moment,” and “The Wollstonecraft Debate.” Opinions on a variety of reforms that may be compared and contrasted with Wollstonecraft’s include those by John Milton, John Locke, Mary Astell, Jean-Jacques Rousseau, Hannah More, Richard Price, Edmund Burke, Maria Edgeworth, and William Godwin, among others.“Criticism” includes six seminal essays on A Vindication of the Rights of Woman by Elissa S. Guralnick, Mitzi Myers, Cora Kaplan, Mary Poovey, Claudia L. Johnson, and Barbara Taylor.A Chronology of Wollstonecraft’s life and work and a Selected Bibliography are also included.

Of the many charges laid against contemporary literary scholars, one of the most common - and perhaps the most wounding - is that they simply don't love books. And while the most obvious response is that, no, actually the profession of literary studies does acknowledge and address personal attachments to literature, that answer risks obscuring a more fundamental question: Why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have long played a role in the formation of private life - that the love of literature, in other words, is neither incidental to, nor inextricable from, the history of literature. Yet at the same time, there is nothing self-evident or a historical about our love of literature: our views of books as objects of affection have clear roots in late eighteenth-century and nineteenth-century publishing, reading habits, and domestic history.While never denying the very real feelings behind our warm relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase "the love of literature" as if its meaning were transparent, its essence happy and healthy. Lynch writes, "It is as if those on the side of love of literature had forgotten what literary texts themselves say about love's edginess and complexities." With this masterly volume, Lynch restores those edges, and allows us to revel in those complexities.

One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history. While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.

At the start of the 18th century, literary "characters" referred as much to letters and typefaces as it did to persons in books. However, this text shows how, by the 19th century, characters in books became identified with the reader, as friends with whom they empathized. The story of this shift in meaning is usually told in terms of the "rise of the individual", but this text proposes an alternative solution. Elaborating a "pragmatics of character" it shows how readers used transactions with characters to accommodate themselves to newly-commmercialized social relations. Ranging from Defoe and Smollett to Burney and Austen, this account should interest those with a concern for the inner workings of consumer culture and the history of emotions.

One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they?That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history.While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

“Jane Austen lovers worldwide will cherish these books...Prepare yourself for a major treat.” —Christian Science MonitorEvery moment has its pleasures, and its hope.Mansfield Park is Jane Austen’s most complex and ambitious novel. Fanny Price—the story’s meek, determinedly moral protagonist—is almost too good to love. Is she admirable, or (as Austen’s own mother declared) “insipid”? Is her uncle, Sir Thomas Bertram, a warm benefactor or a stifling tyrant? In her introduction and annotations, Deidre Shauna Lynch suggests Austen’s intentions were to highlight, not to downplay, these ambiguities; in fact, they may be central to appreciating Mansfield Park. Enjoy the multifaceted story anew with this extraordinary collector’s edition. For beginners and experts alike—immerse yourself in Jane Austen’s world: For the modern reader, our annotations provide clear explanations and illuminating context for period language and references. For the enthusiast, they offer fresh, exciting analysis—a passionate friend in the margins. A work of art—the ideal gift: Perfect for gifting, collecting, and cherishing, this grand hardcover (9” x 9.5”) brims with hundreds of full-color illustrations that vividly recreate Austen’s world—its fashions, carriages, libraries, and estates. The story: “I was quiet, but I was not blind.” The eldest daughter of an impoverished couple, Fanny Price is taken in by her much wealthier aunt and uncle—and their children, Edmund, Tom, Maria, and Julia—at Mansfield Park. This generosity comes as a cost: with the exception of Edmund, Fanny’s relations treat her with scorn. Content to suffer in silence, she may frustrate readers, or even be mistaken for a satirical figure. But Austen rewards Fanny’s steadfast heart with a happy ending. When the wealthy bachelor Henry (who is having an affair with the married Maria) schemes to win Fanny’s affections, she rejects him time and again. Edmund, realizing his love for Fanny, recognizes that she is a canny reader of character—judging others for their actions, not their words.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Shorter Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Shorter Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.